Jeff Golub - Dangerous Curves

Styles: Guitar Jazz, Fusion
Year: 2000
File: MP3@320K/s
Time: 61:09
Size: 142,8 MB
Art: Front

(5:50)  1. Dangerous Curves
(5:49)  2. Droptop
(4:47)  3. Another Friday Night
(4:22)  4. Mister Magic
(4:31)  5. Step Aside
(3:59)  6. No Two Ways About It
(6:03)  7. Gone But Not Forgotten
(4:38)  8. Lost Weekend
(5:28)  9. Til We Meet Again
(5:53) 10. Let's Talk It Over
(4:26) 11. Walkin On The Sun
(5:17) 12. Soul Serenade

Listeners might worry that Jeff Golub, as one of the more prominent breakout guitarist/producers of the past few years, is ripe for a rut. Golub’s GRP debut, Dangerous Curves should alleviate any such notions, as the ubiquitous axe-wielder presents some of his most focused work yet. A minimalistic but authoritative player, Golub makes each riff count on cuts like the album’s funky, energetic title track (backed by well-placed horns), and the jet-propelled Latin blues, “Step Aside,” featuring Mitch Foreman’s stiff-fingered piano corners. Golub explores different textures here like the soft toned “Droptop,” which echoes the laid back feel of “Groovin’ on a Sunday Afternoon,” and the romantic, bittersweet “Til We Meet Again,” recalling classic, bombast-free ballads of the Dionne Warwick-Burt Bacharach era. The crafty guitarist’s wide-ranging influences collide to great effect on a clever cover of Smashmouth’s alternative hit “Walkin’ On the Sun” played at a cool, kick-back pace, the piece takes on a lilting, Caribbean funk flavor which proves a perfect fit. ~ Hilarie Grey  http://jazztimes.com/articles/11385-dangerous-curves-jeff-golub

Personnel: Jeff Golub (electric guitar); Dave Woodford (saxophone, flute); Lee Thornburg (trumpet, flugelhorn, trombone); Mitchel Forman (keyboards); Kevin Savigar (Hammond B-3 organ); Peter White (acoustic guitar); Lincoln Goines (bass); Steve Ferrone (drums); Luis Conte, Sammy Merendino (percussion).

Dangerous Curves

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Eric Boeren Quartet - Cross Breeding

Styles: Jazz
Year: 1995
File: MP3@320K/s
Time: 71:26
Size: 164,0 MB
Art: Front

(8:04)  1. Mapa
(4:56)  2. The Fifth Of Beethoven
(7:53)  3. The Legend Of Bebop
(4:51)  4. Beauty Is A Rare Thing
(3:20)  5. Blues Connotation
(3:26)  6. Cross Breeding
(4:12)  7. Efficient
(4:44)  8. A Hoi Tin Moment
(4:33)  9. Coalcart
(4:33) 10. 'Chords'
(3:47) 11. Free Jazz
(4:08) 12. Happy House
(9:03) 13. Hoera Voor J.P. Bae
(3:50) 14. Pluto

In a way every improviser’s story is a refraction of their personal experience. Cornetist and composer Eric Boeren’s begins in the brass band in the Netherlands’ far south where folks speak their own dialect grooving on the horns’ interplay and massed power. After he came to Amsterdam to study, he learned other communal dialects, as free improviser and as a member of (among other bands) the Peru-to-Madagascar-to-Ellington co-op Available Jelly, Sean Bergin’s South African-influenced M.O.B., new music composers Guus Janssen’s and Paul Termos’s improvising groups, and Michiel Braam’s orchestra Bik Bent Braam, with its musical mobiles.From the mid-1990s Eric has helped organize weekly improvisers’ series in Amsterdam (currently at community center Zaal 100, Tuesdays), where he began his own investigations into Ornette Coleman’s compositional and improvisational methods Ornette’s way of tweaking forms and inventing new material on the fly. That led to the Eric Boeren 4tet with Michael Moore on reeds, Wilbert de Joode on bass and Han Bennink on drums, a band that mixes Coleman’s themes and Boeren’s contrasting numbers in freewheeling suites. (Their CDs are on BVHaast and Clean Feed.)

With that band’s frequent presence at international festivals, Eric’s circle has grown; witness his Boerenbond, with New York’s Peter Evans on trumpet. Berlin’s Tobias Delius on tenor saxophone and Chicago’s Jason Adasiewicz on vibes. Eric’s compositions and musical games are designed to facilitate focused collective improvisations. Boeren has likened every new language he’s learned, in his journey from Brabant village to Amsterdam to the global stage, to another new door opening, onto new vocabularies and syntactical possibilities. His musical trajectory shows the same progression: Boeren keeps opening doors, for the fresh views. He also leads the HO&I (HOt and Improvised), with the contrasting electric guitars of Franky Douglas and Paul Pallesen, plus Julius Peter Nitsch’s electric bass and Tijn Jans’s drums. Boeren’s and Douglas’s compositions mix free funk with Caribbean, Latin American and South African beats. Different companions, a different emphasis but with every voice contributing to a spontaneous conversation. Eric says: “I am very fond of collective improvisation where music in the background can move to the front, and foreground music can be used as a background, and several musical ideas can co-exist in multiple layers. 

Improvisation to me is about adjusting musical ideas on the spot. A band is a team, and I want to be a team player. One of the most difficult aspects of collective improvising is to hear other musicians developing melodic ideas in a different direction then I was working on at the moment. The challenge is to bring all of this information together in a way that makes sense!” Bio ~ http://www.doek.org/project/eric-boeren/

Cross Breeding

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Marlene VerPlanck - Now!

Size: 136,9 MB
Time: 58:23
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz Vocals, Cabaret
Art: Front

01. The Party Upstairs (4:11)
02. I Keep Goin' Back To Joe's (4:03)
03. Don't Fall In Love Without Me (3:01)
04. Is It Raining In New York (4:24)
05. Pretty Blue (4:48)
06. Nothing Ever Changes My Love For You (3:08)
07. Something Always Happens (4:36)
08. Moments Like This (3:03)
09. Quietly There (4:04)
10. The End Of A Love Affair (3:10)
11. Little Did I Dream (2:41)
12. Fool That I Am (5:00)
13. Yes! (2:22)
14. Drinking Again (4:15)
15. Look Who's Singing Your Song (2:49)
16. Now! (2:41)

This particular recording by singer Marlene Ver Planck is noteworthy in that most of the songs, with the exception of "I Keep Goin' Back to Joe's," "Moments Like This," "The End of a Love Affair," and "Drinking Again," are quite obscure. As usual, Ver Planck sings perfectly in tune, gives beauty and sensitivity to the lyrics, swings lightly, and is joined by top-notch musicians, with the performances being arranged by her husband, Billy Ver Planck. Most selections feature a trio with pianist Tedd Firth. Pianists Billy Taylor and Norman Simmons are on a song apiece (tunes that they wrote), and guitarists Bucky Pizzarelli and Jerry Bruno sit in on "Is It Raining in New York" and "Quietly There." Marlene Ver Planck's voice remains beautiful and her interpretations serve each of the songs. Overall, Now! is a delight, and particularly recommended to listeners and singers who are interested in hearing fresh material sung by one of the best. ~Review by Scott Yanow

Now!

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Ken Lovern - Ken Lovern's OJT

Size: 154,8 MB
Time: 66:41
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz: Hammond B-3
Art: Front

01. Ojt Theme (Intro) (1:09)
02. Swirlies (5:32)
03. Someday My Prince Will Come (6:53)
04. Yuma Green (4:48)
05. It's All Good (8:10)
06. Polka Dots And Moonbeams (6:49)
07. 7-Sticks (6:31)
08. Ojt Theme (Reprise) (1:08)
09. Billie Jean (5:09)
10. Invitation (8:10)
11. All Ice Blues (4:59)
12. Big Cheese (4:52)
13. Ojt Theme (Full Version) (2:23)

For many keyboardists, there's nothing more satisfying to hear than a B-3 beautifully played. Ken Lovern’s Organ Jazz Trio is a wholly satisfying disc for just that reason. Though it’s clear that Ken has a solid groove, creative sense of melody, and the chops to make it all sing, one if the real highlights here is his mastery of the drawbars; the OJT’s organ tone changes constantly and fluidly within the framework of a song or solo, adding an unexpected layer of expressiveness to Ken’s playing. Original tracks like “OJT Theme” and “Swirlies” show a good deal of compositional maturity as well, and the group’s cover of Michael Jackson’s Billie Jean is surprisingly cool, funky, and sophisticated.

Ken Lovern's OJT

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Peter White - Smile

Size: 101,0 MB
Time: 42:30
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Smooth Jazz
Art: Front

01. Smile (3:37)
02. In Rainbows (4:17)
03. Floating In Air (4:53)
04. Head Over Heels (5:11)
05. Coming Home (2:54)
06. Nightfall (4:30)
07. Hold Me Close (4:25)
08. Beautiful Love (4:57)
09. Don Quixote’s Final Quest (3:21)
10. Awakening (Jordan’s Song) (4:21)

In the era ruled by the electric guitar, British-born, LA-based Peter White reigns supreme as one the world's greatest masters of the nylon-string acoustic guitar. From the time he burst on the scene with rock legend Al Stewart in the seventies and singer Basia in the eighties to his session work with Richard Elliot, Jeff Golub, Lee Ritenour, Kirk Whalum and Boney James, White's fabulous fingers continue to showcase the timeless tones and timbres that come from wood, skin and an expansive musical imagination.

Smile, set for release on October 7th, is White's fourteenth recording as a leader, and his scintillating, contemporary jazz sound is buttressed by his equally-impressive command of several instruments and augmented by an impressive array of special guests, including vocalist Mindi Abair, trumpeter Rick Braun, soprano saxophonist Euge Groove, keyboardist Philippe Saisse, bassist Nate Phillips, violinist (and daughter) Charlotte White, Ramon Yslas on bongos and vocalist Stevo Theard.

Smile

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Kyle Reid & The Low Swinging Chariots - Alright, Here We Go...

Size: 101,0 MB
Time: 39:45
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Retro Swing, Folk Jazz, Gipsy Jazz
Art: Front

01. Shot Of Whiskey (Live) (3:50)
02. When I Was Young (Live) (4:55)
03. Pride And Swing (Live) (5:55)
04. Dancing (Live) (4:50)
05. Eileen (Live) (6:09)
06. Treat Me That Way (Live) (3:55)
07. Minor Iko (Live) (4:01)
08. A Minor Affair (Live) (6:07)

Kyle Reid leads his band, The Low Swinging Chariots, in a joyful revelry of original swing tunes that draw from New Orleans, Gypsy Jazz, and Western Swing traditions. Reid’s original tunes sound at once familiar yet new and exciting, blending elements of these classic American forms with contemporary attitude. The low sonorous quality of Reid’s voice is well balanced by the hot accents of the rhythm section and the sweet melodies of the brass section. The band's new album, "Alright, Here We Go..." is a rambunctious romp through the trials of a young man making trouble for himself and praying to the gods of swing (Armstrong, Reinhardt, Prima, Waller, et. al.) to once again save him from the depths of despair. The music, time and time again, lifts the band members and listeners out of the mire of everyday drudgery into a tent revival of glorious swinging sound. Kyle Reid and the Low Swinging Chariots are in the business of uplifting their listening audience and compelling them to have as much fun as the band itself.

Alright, Here We Go...

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Yvonne Walter - Bitter Sweet: Remembering Ann

Size: 129,3 MB
Time: 55:49
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. I'm A Fool To Want You (5:52)
02. Willow Weep For Me (5:26)
03. (Song For) Libra (4:45)
04. I Wished On The Moon (3:26)
05. In The Wee Small Hours (3:04)
06. I'll Be Around (2:37)
07. Don't Explain (5:01)
08. Where Can I Go (3:53)
09. Go Away Little Boy (4:50)
10. Old Devil Moon (3:59)
11. You've Changed (5:10)
12. The Wind (4:15)
13. The Shadow Of Your Smile (3:26)

A tribute to the great Dutch female jazz singer Ann Burton who left us 20 years ago.

After singing jazz standards for more than two decades as Yvonne de Kok, she changed her artist name into Yvonne Walter (her mother’s name) and started to record her own compositions. On stage she merges jazz standards with her own songs and with today’s composers like Ivan Lins, Johnny Mandel and works of the hands of talented friends.

Yvonne Walter was born in Eindhoven, a town in the southern part of the Netherlands. She started studying piano at the age of seven and in her teens, she performed as a singer in high school bands. At that time she started to compose songs. Yvonne lives in Antwerp, Belgium.

Yvonne likes to work with different accompanists to keep the real jazz spirit high. Although she will not avoid arrangements, which are necessary for a larger band, she prefers the challenge of a fresh rendition in duo, trio or quartet in which her only demands are tempo, rhythm and key.

In a broad range of repertoire Yvonne always seeks for the right atmosphere to touch the soul of the song with deep respect for the composer and the lyricist. With this ability she reaches for true synergy with musicians and audience, where words set to music find love.

Bitter Sweet

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Alan Baylock Jazz Orchestra - Prime Time (Feat. Doc Severinsen)

Size: 143,6 MB
Time: 62:07
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Big Band
Art: Front

01. Cold Duck Time ( 6:33)
02. The Phrygian Five ( 6:34)
03. Torque ( 6:25)
04. El Abrazo ( 7:34)
05. I Want To Be Happy ( 2:59)
06. September Song ( 4:51)
07. Hey Jude (11:32)
08. I've Grown Accustomed To Her Face ( 3:26)
09. Blues For Stew's Shoes (12:09)

"Prime Time" is the third release from the Alan Baylock Jazz Orchestra. Featuring the legendary Doc Severinsen, this album grooves and swings from the first notes! A handful of creative arrangements and four new originals by Alan Baylock make this record shine. Some of the top jazz musicians in the country are featured, including lead trumpet player Brian MacDonald, jazz trumpet players TIm Leahey and Alex Norris, saxophonists Tyler Kuebler and Luis Hernandez, trombonists Ben Patterson and Matt Niess, and the incredible Todd Harrison on drums.

Prime Time

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Paul Potts - Home

Size: 141,8 MB
Time: 60:33
File: MP3 @ 320K/s
Released: 2014
Styles: Classical
Art: Front

01. Quando Balliam' (When We Dance) (4:44)
02. Non Ti Scordar Di Me (3:32)
03. The Best Of Me (4:27)
04. Through The Barricades (5:12)
05. La Mer (4:26)
06. L'ora Dell Addio (3:36)
07. Something (4:01)
08. Tristezza (3:56)
09. Un Amore Cosi Grande (4:20)
10. I'm Yours (4:15)
11. Il Mio Miracolo (4:13)
12. Desperado (3:49)
13. November Rain (5:20)
14. Home (4:35)

The Bristol-born, Port Talbot-residing tenor, for whom singing has always been a haven and a source of joy, is living his dream. Socially awkward, bullied and taunted at school, singing in his local church choir proved to be a sanctuary from the playground abuse. Listening to La Boheme, aged 16, Paul fell in love with opera, a romance that was to set him on a turbulent journey that would eventually lead to him performing on, and winning, the first series of Britain’s Got Talent in 2007.

Truly a life-changing event, he released his debut album ‘One Chance’ that year, topped the charts in 13 countries (including the UK), appeared on Oprah (twice), brought Times Square to a standstill, announced a world tour and became a household name in cities from Seoul to New York and Sydney to Hamburg. Paul’s story has since inspired the Weinstein-produced Hollywood film ‘One Chance’ starring James Corden in the lead role and Paul has written the accompanying autobiography.

But the story doesn’t end there. Paul is constantly touring, averaging 100 concerts each year. He has since released two further studio albums 2009’s ‘Passione’ and 2010’s ‘Cinema Paradiso’ and a Greatest Hits collection in 2013. After the release of the film-themed ‘Cinema Paradiso’ he decided on a change of direction. “I have always felt very strongly that the divisions in music genres are artificial and often arbitrary. It’s often assumed that a rock fan will not like opera, and vice versa. At the end of the day it is all one thing: Music. This was my vision with ‘Home’”.

The new album, titled ‘Home’, is to be released globally in Autumn 2014.

Home

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Various - Maestros Of Cool: A Tribute To Steely Dan (2-Disc Set)

"MAESTROS OF COOL" is a fabulous compilation of cover versions of songs from Steely Dan. "MAESTROS OF COOL" is far too good for the tribute album stamp. What we've got here is a compilation disc featuring an incredibly wide assemblage of musicians, most of whom, although likely unknown to listeners, have not only been influenced by Steely Dan, but have gone on to create spectacular and unique music that ventures far beyond that of their mentors.

David Garfield (Keyboards), Klaudia Salkovic (Vocals), Steve Nieves (Sax & Vocals), Chuck Loeb (Guitar), John Patitucci (Bass), Dave Weckl (Drums), Michael Landau (Guitar), Lee Sklar (Bass), Don Braden (Tenor Sax), Damon Albarn (Vocals), Nathan Haines (Tenor Sax), Carl Orr (Guitar), John Beasley (Vocals & Keyboards), Debbie Deane (Vocals & Piano), Jules Brookes (Vocals), Nash Kato (Guitar), Pam Bricker (Vocals), Jim West (Drums), Wayne Wilentz (Piano, Keyboard, and Vocals), Tony Gallo (Vocals), George Wadenius (Guitar), Bill Ware (Vibes & Fender Rhodes), Alex Ligertwood (Vocals), Justin Morell (Guitar), Abebi Stafford (Fender Rhodes), Gustavo Assis-Brasil (Guitar), Mauricio Zottarelli (Drums), Sean Wayland (Piano), Alex Gunia (Guitar), Philipp Van Endert (Guitar), Cornelius Bumpus (Sax), Rob Aries (Keyboards), Ben Lacy (Guitar), Franz Holtmann (Guitar), Matthias Krauss (Keyboard), Gudze (Bass), and Marco Minnemann (Drums).

Album: Maestros Of Cool: A Tribute To Steely Dan (Disc 1)

Bitrate: 320K/s

Time: 57:49

Size: 132.3 MB

Styles: Adult contemporary

Year: 2007

Art: Front

[4:35] 1. Nathan Haines - Fm

[5:01] 2. Stereo - Remember

[4:08] 3. Debbie Deane - Any World

[5:21] 4. Raw Stylus - 37 Hours

[3:36] 5. Nash Kato - Dirty Work

[4:53] 6. Pam Bricker - Home At Last

[5:36] 7. Tony Gallo - Black Cow

[5:25] 8. Groovething - The Fez

[5:37] 9. David Garfield - Josie

[4:18] 10. Carl Orr - Tomorrow's Girls

[4:41] 11. Liquid Blue - Rikki Don't Lose That Number

[4:32] 12. Jango - Joyful Caravan

A Tribute To Steely Dan (Disc 1) 

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Album: Maestros Of Cool: A Tribute To Steely Dan (Disc 2)

Bitrate: 320K/s

Time: 70:18

Size: 160.9 MB

Styles: Adult contemporary

Year: 2007

Art: Front

[ 6:24] 1. David Garfield - Babylon Sisters

[ 5:26] 2. Chuck Loeb - Maxine

[ 6:34] 3. Don Braden - Kid Charlemagne

[ 5:23] 4. Hr-Bigband - Pretzel Logic

[ 4:44] 5. Justin Morell - My Rival

[ 4:07] 6. Abebi Stafford - Green Earrings

[ 6:58] 7. Gustavo Assis-Brasil - Aja

[ 5:38] 8. Stolen Van - Aves Of Altamira

[ 6:39] 9. Alex Gunia & Philipp Van Endert - Third World Man

[ 5:01] 10. Cornelius Bumpus - Chain Lightning

[ 3:14] 11. Ben Lacy - Hey Nineteen

[10:03] 12. Trinity - Steal It Again Dan

A Tribute To Steely Dan (Disc 2)  

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Jim Gailloreto's Jazz String Quintet - S/T

Bitrate: 320K/s
Time: 76:55
Size: 176.1 MB
Styles: String Quintet, Saxophone jazz
Year: 2006
Art: Front

[ 8:20] 1. Witch Hunt
[ 4:51] 2. Giant Steps
[17:19] 3. Justina With Strings
[ 7:35] 4. Fair Weather
[ 9:05] 5. Shadow Puppets
[ 8:17] 6. Infant Eyes
[ 4:23] 7. Universal Soul
[14:49] 8. Spare Change
[ 2:11] 9. Admit One

Jim Gailloreto's Jazz String Quintet, featuring Kurt Elling, is a string quartet that swings, a sax that soars, with passionate performances and wild improvisations! Jazz String Quintet is an original blending of both jazz and classical music, the instrumentation is string quartet and soprano saxophone.

Brainchild of the exceptional Chicagoan saxophonist Jim Gailloreto, Jazz String Quintet is immersed in the traditions and performance practices of classical music whilst simultaneously expanding and exploring all the truest elements of jazz. The unique programming of this disc highlights traditional jazz standards of composers such as Wayne Shorter and John Coltrane, along with original compositions by Jim. This debut release of the Jazz String Quintet also has two vocal tracks from the wonderful and critically acclaimed Kurt Elling. This collaboration enhances the music's solid pedigree in both the jazz and classical worlds, and brings to the recording interpretations of two short works by the 13th century Sufi poet, Rumi.

Jim Gailloreto is a graduate from De Paul University, Chicago, and has received a Masters in Music in Composition from Northwestern University. Recently his composition Part of the Human Mind was premiered at the IAJE convention in New Orleans. He is currently a member of the faculty at Chicago College of the Performing Arts where he teaches Techniques of Improvisation, jazz saxophone studies, arranging and music composition.

Jim Gailloreto - soprano saxophone; Katherine Hughes - violin; Mark Agnor - violin; Ben Wedge - viola; Jill Kaeding - cello; Kurt Elling - vocals (4 & 7); Rob Amster - bass (4 & 7).

Jim Gailloreto's Jazz String Quintet

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Jackie McLean - Vertigo

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 75:13
Size: 172,7 MB
Art: Front

(6:11)  1. Marney
(8:12)  2. Iddy Bitty
(7:04)  3. The Way I Feel
(6:51)  4. Dusty Foot
(8:13)  5. Vertigo
(4:51)  6. Cheers
(7:55)  7. Yams
(6:00)  8. The Three Minors
(7:06)  9. Blues In A Jiff
(7:47) 10. Blues For Jackie
(4:58) 11. Marilyn's Dilemma

This 1980 recording released for the first time "Formidable" from a 1959 session and five numbers from a 1963 McLean set. While "Formidable" has a strong quintet (with altoist Jackie McLean, trumpeter Donald Byrd, pianist Walter Davis, bassist Paul Chambers, and drummer Pete La Roca), the 1963 session has the recording debut of drummer Tony Williams along with strong contributions from Byrd, pianist Herbie Hancock (then also near the beginning of his career), and bassist Butch Warren. The latter unit sticks to group originals by Byrd, Hancock, and McLean, and the music ranges from catchy funk and hard bop to strong hints of the avant-garde. ~ Scott Yanow  http://www.allmusic.com/album/vertigo-mw0000051675

Vertigo

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Jacky Terrasson - Reach

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 57:11
Size: 131,3 MB
Art: Front

(5:32)  1. I Should Care
(3:20)  2. The Rat Race
(5:20)  3. Baby Plum
(5:56)  4. (I Love You) For Sentimental Reasons
(9:00)  5. Smoke Gets In Your Eyes/ Reach
(8:47)  6. Happy Man
(6:13)  7. First Affair
(4:24)  8. Just One Of Those Things
(8:34)  9. All My Life

The talented young pianist Jacky Terrasson and his trio (with bassist Ugonna Okegwo and drummer Leon Parker) find something new to say on a few standards (including a rare up-tempo version of "For Sentimental Reasons") and introduce five of Terrasson's originals. Although he has does not have an original style yet, Terrasson displays a great deal of potential for the future. Highlights include "I Should Care," "Just One of Those Things," and a medley of his "Reach" with "Smoke Gets in Your Eyes." ~ Scott Yanow  http://www.allmusic.com/album/reach-mw0000646792

Personnel: Jacky Terrasson (piano); Ugonna Okegwo (bass); Leon Parker (drums).

Reach

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Etta Jones - Something Nice

Styles: Vocal
Year: 1994
File: MP3@320K/s
Time: 36:31
Size: 83,9 MB
Art: Front

(2:54)  1. Through A Long And Sleepless Night
(2:34)  2. Canadian Sunset
(4:02)  3. Fools Rush In (Where Angels Fear To Tread)
(2:49)  4. My Heart Tells Me
(3:58)  5. That's All There Is To That
(2:05)  6. Till There Was You
(3:12)  7. I Only Have Eyes For You
(3:38)  8. Maybe You'll Be There
(3:40)  9. Love Is The Thing
(2:41) 10. Almost Like Being In Love
(4:53) 11. Easy Living

This CD reissue features singer Etta Jones during two recording sessions in 1960-1961. Jones is joined by two separate rhythm sections, and there is a guest appearance for tenor saxophonist Oliver Nelson (on "Easy Living"), two by vibraphonist Lem Winchester, and three from guitarist Wally Richardson. 

Influenced by Billie Holiday during this era, Jones is at her best during straightforward and sincere renditions of such songs as "My Heart Tells Me," "Till There Was You," "Almost Like Being in Love," and "Canadian Sunset."~Scott Yanow http://www.allmusic.com/album/something-nice-mw0000674724

Personnel: Etta Jones (vocals); Wally Richardson (guitar); Oliver Nelson (tenor saxophone); Richard Wyands (piano, vibraphone); Jimmy Neely (piano); Lem Winchester (vibraphone); Rudy Lawless, Roy Haynes (drums).

Something Nice

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Milt Buckner & His Alumni - Paris & Toulouse 1976

Bitrate: 320K/s
Time: 64:30
Size: 147.7 MB
Styles: Piano/Organ jazz
Year: 1976/2008
Art: Front

[5:30] 1. Hamp's Boogie Woogie
[4:13] 2. Hey Ba Be Re Bop
[6:24] 3. Where Or When
[4:33] 4. Pour Toutes Mes Soeurs
[5:56] 5. Encore Flying Home
[2:58] 6. Sleep
[2:56] 7. Million Dollar Smile
[6:33] 8. King Porter Stomp
[5:22] 9. A Ghost Of A Chance
[3:26] 10. Milt's Boogie Woogie
[4:16] 11. Bill Bailey, Won't You Please Come Home
[4:45] 12. Margie
[7:29] 13. Green Onions

Milt Buckner , Wallace Davenport , Earl Warren , Arnett Cobb , Eddie Chamblee , Francis Panama.

A colorful and versatile musician who was comfortable while on the piano, or stretching out on the Hammond organ. Milt Buckner was also quite the character and very much the jovial entertainer. Orphaned as a child, Buckner was taught music by an uncle in Detroit. He started playing piano and arranging for local bands such as The Harlem Aristocrats and The Dixie Whangdoodles - by the late 1920s. After joining drummer Don Cox's band in 1932, Buckner began experimenting with patterned parallel chords, becoming famous as the earliest purveyor of what came to be known as “block chords” or “locked hands” style;, he then attracted the attention of McKinney's Cotton Pickers in 1934 for whom he wrote arrangements.

Buckner continued working with the local Detroit groups of Don Cox and Jimmy Raschel, until he joined Lionel Hampton's big band as pianist and arranger in November 1941, acting as pianist and staff arranger, and remained there for seven years, where his recorded arrangements included “Tempo's Birthday,” “Slide Hamp Slide,” “Overtime,” “Rockin' In Rhythm,” and the perennial “Hey! Ba-Ba-Re-Bop,” and “Hamp's Boogie Woogie.” Hamp's free-wheeling orchestra suited Milt admirably; the on-stage histrionics, the jump and swing repertoire and the musical and visual appeal of the band fit his charact er like a glove. While with Hampton, Milt broke away sporadically to pursue his own career on Savoy Records from 1946 to 1948, after getting an early taste recording a lone side under his own name for Hamp's Hamp-Tone label. Recording with a small quartet or quintet, he achieved sufficient success to quit Hamp's band in 1948 at which time Milt quickly formed his own orchestra which recorded for MGM Records. Around this time that Buckner began to concentrate on playing organ, and he worked as a solo or in harness with Jo Jones, Sam Woodyard and Illinois Jacquet, frequently returning to Hampton for record and concert dates.

Milt returned to Hampton in 1950 for another two years during which time he switched from piano to organ - after being influenced by Wild Bill Davis' playing on Louis Jordan's “Tamburitza Boogie” - an instrument he was largely to stick with for the rest of his life. As a jazz organist he recorded for Regent (1952), Scooter (1952-53), Brunswick (1953), Capitol (1955-57), Argo (1959-61) and Bethlehem (1962-63) before recording extensively in Europe throughout the 1960s and 1970s for the likes of Black & Blue, whe re he was the resident session man for visiting musicians. He also did recordings for MPS and Jazz Odyssey. With the rise of the international jazz festival scene in the 1960s, he began to tour extensively. He died in 1977 shortly after setting up his organ for a live performance with his old buddy Illinois Jacquet at Jazz Showcase. He was just 62. ~James Nadal

Paris & Toulouse 1976

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Wendy Moten - Timeless: Wendy Moten Sings Richard Whiting

Bitrate: 320K/s
Time: 36:46
Size: 84.2 MB
Styles: Jazz vocals
Year: 2014
Art: Front

[3:50] 1. My Ideal
[2:32] 2. Miss Brown To You
[4:46] 3. When Did You Leave Heaven
[4:23] 4. He's Funny That Way
[3:47] 5. Too Marvelous For Worlds
[4:49] 6. Guilty
[2:58] 7. I Wanna Go Places And Do Things
[3:24] 8. I Can't Escape From You
[3:06] 9. True Blue Lou
[3:08] 10. It's A Long Time Between Kisses

This fantastic album produced by double Grammy winner, Paul Brown, features wonderful musicians who include Dave Koz, Paul Brown, Tracy Carter, Sinclair Lott, Tommy Kay, Mitchel Forman, Brian Bromberg and Roberto Vally. Wendy Moten is often referred to as the “singer’s singer.” This album puts Wendy back in the spotlight she deservedly has earned and allows the world to again hear this incredible and beautiful voice. All the insiders who have already listened, fully expect Wendy Moten to be in the Grammy mix for Jazz Album of the Year.

Timeless: Wendy Moten Sings Richard Whiting

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Bill Easley - Business Man's Bounce

Bitrate: 320K/s
Time: 56:19
Size: 128.9 MB
Styles: Post bop, Saxophone jazz
Year: 2007
Art: Front

[3:40] 1. Straighten Up And Fly Right
[5:52] 2. Mentor
[4:53] 3. September Song
[5:43] 4. Chelsea Bridge
[4:55] 5. In The Still Of The Night
[5:07] 6. Hi Fly
[6:04] 7. Memphis Blues
[5:43] 8. Spring Is Here
[5:25] 9. Indian Summer
[4:21] 10. Anthropology
[4:32] 11. Just In Time

Bill Easley has an extensive résumé as a sideman, but has led relatively few record dates of his own during his long career. But this excellent disc ought to open up more recording opportunities for him. With a potent rhythm section comprised of pianist Larry Ham, bassist Hassan JJ Shakur, and veteran drummer Michael Carvin (the latter a strong leader in his own right), the tenor saxophonist explores familiar material from a wide background in new avenues. His boisterous R&B-flavored take of Nat King Cole's "Straighten Up and Fly Right" features his gritty tenor and some comical spoken asides in spots. The Off Broadway Woodwind Ensemble add a lush background of reeds to several tracks, including a gorgeous rendition of "September Song," and provide additional color to the snappy setting of Randy Weston's "Hi Fly." "Chelsea Bridge" falls into a rut on many record dates, but Easley's breezy approach with a Latin undercurrent gives it a fresh sound. The leader is equally enjoyable soloing on clarinet (while overdubbing his tenor), playing a classic jazz gem like W.C. Handy's "Memphis Blues" that would find him at home with any traditional jazz band; cornetist Warren Vaché is a special guest and he provides the perfect foil for Easley. Finally, with the addition of fellow tenorist Frank Wess on Easley's cooking "Mentor," the quartet sounds like a much larger ensemble with the two full-bodied tenor players. Highly recommended. ~Ken Dryden

Business Man's Bounce

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Eric Alexander - Nightlife In Tokyo

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 57:59
Size: 133,1 MB
Art: Front

(7:56)  1. Nemesis
(7:55)  2. I Can Dream, Can't I?
(6:31)  3. Nightlife In Tokyo
(7:54)  4. I'll Be Around
(8:21)  5. Cold Smoke
(7:35)  6. Island
(6:12)  7. Big R.C.
(5:30)  8. Lock Up And Bow Out

"Nemesis," the opening track of Eric Alexander’s latest release, Nightlife in Tokyo, encapsulates within its twisting motif and exotic garb both the positive and negative qualities of the album. The motif is compelling, but only because it is so reminiscent of Coltrane tracks like “India” and “Naima.” The tune provides a utilitarian launching pad for Alexander’s skillful, well-developed, well-blown tenor improvisations, but fails to provide enough fuel to ignite truly burning runs. That said, it is certainly a well-crafted piece, just like all the material on the album. Even so the overall result feels somehow unsatisfying, and the real problem is that it’s frustratingly difficult to figure out why. There is no doubt whatsoever that Alexander knows his saxophone, and knows almost everything there is to know about the players that have preceded him on the instrument. In cases like these, however, it remains questionable how essentially good this exhaustive familiarity actually is. Alexander’s compositions display versatility and a great sense of balance. His tone is rich and cultured. He knows when to bend and when to remain firm, his phrasing is always right on the money, and he interacts well with his rhythm section. As is often the case on albums like this, it’s just this interaction which provides the most compelling listening material. 

Ron Carter’s bass work stands out, particularly on the relatively driving title track, “Nightlife in Tokyo." In fact, there is no point where the instrumentation, phrasing, tone quality, or note choice stand out as particularly unappealing. In fact, that may be the problem. There is a deliberateness to Alexander’s playing which makes his smooth tone feel too controlled and his Coltrane-esque squiggles and tremolos too calculated. It often feels like there are two Alexanders playing simultaneously: the first initiating the impulse, and the second checking that impulse against an enormous file of technique, phrases, and historic data. This becomes increasingly notable on slower ballads like “I’ll Be Around” than on the edgier, harder tunes such as the already mentioned “Nemisis” and the album’s stand-out piece, “Cold Smoke.” Overall, this is a solid, straight ahead album that once again reveals Alexander’s tone control and dexterity. There are individual moments and tunes that will without doubt capture the attention of individual listeners. Each listener will most likely identify a favorite tune or two, just as this reviewer has. However, over time the individual tracks tend to bleed together, just as much of today’s jazz output does as a whole, to create a rather homogeneous landscape. ~ Franz A.Matzner  http://www.allaboutjazz.com/nightlife-in-tokyo-eric-alexander-fantasy-jazz-review-by-franz-a-matzner.php#.VDVS7BawTP8

Personnel: Eric Alexander: Tenor Saxophone; Harold Mabern:Piano; Ron Carter: Bass; Joe Farnsworth: Drums.

Nightlife In Tokyo

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Miriam Waks - Waksing Lyrical

Styles: Vocal, Bossa Nova
Year: 2014
File: MP3@320K/s
Time: 37:05
Size: 88,8 MB
Art: Front

(1:53)  1. There's Gotta Be Something Better Than This
(4:54)  2. Black Coffee
(3:31)  3. Chega de Saudade
(2:04)  4. Tu vuo f'a l'americano
(3:44)  5. I Keep Going Back to Joe's
(3:25)  6. Si Veriash
(3:59)  7. Peel Me a Grape
(3:40)  8. La vie en rose
(3:16)  9. Veinte Años
(3:02) 10. Hard-Hearted Hannah
(3:32) 11. Al Di La

Waksing Lyrical is an elegant, sophisticated debut album from Sydney’s Miriam Waks. Light jazz inflections mingle in an intimate, lounge-inspired atmosphere as she tours an eclectic  set of standards, chansons and a couple of quaint, unexpected choices. There’s no doubt Waks can deliver a genuinely contemporary sound when she has to. Check out her collaboration with Coptic Soldier on “Why Suffer” for evidence. So when I say that in some ways, the overall effect of Waksing Lyrical is disarmingly old-fashioned, I mean it in the most complimentary way: her diction is perfect, regardless of the language she’s singing in (and her linguistic skills are nicely showcased). You get every word, which is rare in an age of overwhelming production values. And there is an air of traditional, pared-back simplicity about the whole project that is utterly refreshing.Kerrie Biddell has done a discreet job on the mixing desk, leaving plenty of air around Waks and her accomplished trio pianist Michael Bartolemi, Ben Waples on double bass and drummer James Waples (they’re joined by her uncle, Nathan, on cello for “La Vie en Rose”).

Waks has a lilting soprano voice that really tugs the heartstrings on the ballads. But she also throws in some earthy grit and nuanced comedy on more lived-in numbers like “Peel me a Grape”, “Black Coffee”, “Hard-Hearted Hannah” and the suitably torchy “I Keep Going Back to Joe’s”, phrasing with confidence and clarity. She attacks “There’s Gotta be Something Better Than This” with restrained bravado. The Portuguese and Spanish numbers “Chega de Saudade” and “Veinte Años”, in particular throb with dignified emotion, and she has a sweet, wistful approach to “La Vie en Rose”. Further proof of her stylistic range is provided by the Sephardic song, “Si Veriash”, on which she reveals real vocal ease and flexibility. As I’m writing this Eurovision 2011 is fast approaching, so the presence of “Al di La” rates a special mention. Although Betty Curtis failed to win the 1961 contest for Italy with this stately, sentimental ballad, it became a signature song for Connie Francis. Dated it might be but here, dusted off and polished up by Waks, it gleams afresh, full of yearning and regret for what might have been. http://cry-me-a-torch-song.com/2011/05/10/album-review-miriam-waks-waksing-lyrical/

Waksing Lyrical

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Eric Krasno - Reminisce

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 49:06
Size: 112,8 MB
Art: Front

(5:10)  1. Roll Out
(4:36)  2. Reminisce (End Of The Movie)
(4:33)  3. 76
(5:43)  4. Get Back
(3:39)  5. Be Alright
(5:24)  6. Enhorabuena
(4:45)  7. Tilt
(5:15)  8. Manic Depression
(4:37)  9. Song For Dilla
(5:19) 10. Up And Out

There are no surprises on Soulive guitarist Eric Krasno's first solo album, but that's a good thing. Even with the familiar names involved in a project that's resulted in Reminisce, the music is fresh and wholly contemporary.The album was produced by Krasno, and features mostly his own material. Soulive drummer Alan Evans recorded and mixed, while his brother Neal appears on keyboards. Still, there's no apparent loss of objectivity: this is not a retreading of Soulive's music and, while there are obviously some similarities to it as well as Krasno's other project Lettuce (most obviously in the use of horns as during "Roll Out")the finished project is more along the lines of vintage jazz-rock fusion, albeit with a decidedly funky feel. Yet unlike much of what passed for that hybrid music during its heyday, tracks like "76" are naturally earthy, from the tight syncopation of Adam Deitch's drumming to the quirky but mellifluous synthesizer sounds. 

The snappy inclusion of The Beatles "Get Back" is an absolute revelation, not so much because of Krasno's guitar playing it's as precise as always in rendering and elaborating upon the main melody line but in the way the collaborators fashion its organic arrangement to include punchy horns and classic Hammond B3. Recorded over an extended period of time, the diversity of Reminisce does not undermine its cohesiveness; notwithstanding its influences, it's inventive on its own terms. For instance, "Be Alright" may recall Stevie Wonder; more than just the sound of Nigel Hall's vocal, there's not a note wasted anywhere on the cut. Hall can be histrionic on stage, but when he sings on this album, he's as focused as all of the musicians. On the cover of Jimi Hendrix's "Manic Depression," Krasno, Hall and company wisely don't try to copy the original version of the late guitarist, but simply bring out the R&B elements (Philly soul as well as Sly Stone) hidden below its psychedelic surface. 

Here, Krasno's ripping guitar illustrates why he's not averse to featuring his partners at various points and, whenever he steps forward, the power and nuance of his playing is captivating. Still, it's not just the magic of the studio that allows saxophonist Ryan Zoidis to turn himself into a complete horn section on "Tilt," it's also the unabashed gusto of his playing. And Deitch's drumming throughout is an absolute wonder, which prompts the question: "How can a man dig into a groove so deeply?" The title, subtitled "End of the Movie," conjures an ethereal mood that suits the rolling of credits on a moving piece of cinema. But it also suggests yet another opportunity of which Krasno may avail himself in the future. If the ten tracks that precede this one don't open his future wide enough. ~ Doug Collette  http://www.allaboutjazz.com/reminisce-royal-family-records-review-by-doug-collette.php#.VDWRfRawTP8
 

Personnel: Eric Krasno: guitar, bass, background vocals; Neal Evans: organ; Nigel Hall: vocals, bass, Moog, keyboards; Adam Deitch: drums, percussion, Wurlitzer; Alan Evans: drums; Stu Brooks: bass; Louis Cato: bass, trombone, tambourine; Ryan Zoidis: saxophones.

Reminisce

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