The David Liebman Trio - Lieb Plays The Beatles

Styles: Saxophone, Piano and Flute Jazz
Year: 2013
File: MP3@320K/s
Time: 63:38
Size: 147,0 MB
Art: Front

(5:41)  1. Medley - She's Leaving Home - Let it Be
(6:10)  2. While My Guitar Gently Weeps
(5:28)  3. Because
(5:15)  4. The Fool On The Hill
(6:05)  5. That Means A Lot
(3:40)  6. If I Fell
(6:28)  7. Within You Without You
(2:16)  8. Something
(3:02)  9. Blackbird
(3:32) 10. Medley - Tomorrow Never Knows - Blue Jay Way - Love Me Do
(4:21) 11. Julia
(7:20) 12. Medley - She's A Woman - Lady Madonna
(4:14) 13. And I Love Her

With over 350 recording dates to his credit, of which he has been leader or co-leader of 150 plus a repertoire ranging from jazz and songbook standards, several hundred self penned originals and interpretations of classic composers like Bernstein,  Kurt Weill and Puccini to name but three it’s hardly surprising that it has taken Liebmann so long to get around to the Beatles ; suffice to say it has been worth the wait and the thoughtful, if at times rather sombre lines he and his partner Ruocco weave about these familiar melodies invest them with a gravitas that elevates them to the condition of contemporary chamber jazz of a very high order.The employment of John Ruocco  in a conversational counterpoint  reminds me very much of the late recordings that Jimmy Giuffre partnered with French clarinettist Andre Jaume, the effect is rather like that of two old friends chewing over a topic of mutual nterest but whereas  Giuffre and Jaume operated purely as a duo this project by Liebman is supported on a buoyant bass and drums foundation that is integral to the artistic process and provides a polyphonic  fabric that enhances  the quality and complexity of the dialogue.

The recital features seventeen Beatles songs including seven that form a part of three medleys: some like `Blackbird ‘will be familiar to those with only a passing interest in Fab Four’s output whilst there are others that will only readily recalled by diehard fans. None of them, as you would expect, offer facile sing- along immediacy but are reinterpreted with sensitive originality. No post modern parodies here. Tunes like `While My Guitar Gently Weeps` and the lesser known `That Means A Lot` receive fairly lusty ,straight ahead blow outs but mostly the mood is introspective and ruminative with dark hued bass clarinet musings contrasting with sharper, keening soprano voicing. 

On two pieces Liebman plays piano to effect some tonal variation. On the first, a chromatic and at times atonal version of `The Fool on The Hill` there is an assertive walk through part for bass which contrasts effectively with the tentative keyboard musings and in the final solo piano piece, `And I Love Her`Liebman barely alludes to the melody but makes statement that shorn of romantic effusiveness still manages to communicate on an emotional level.If through limited exposure to his music something to which I must confess- you had Liebman marked down as a post Coltrane speed merchant, this disc will convince you of his magnitude as a creative artist of considerable depth and sensitivity. ~ Euan Dixon  http://jazzviewscdreviews.weebly.com/october-2013.html

Personnel: David Liebman - soprano & tenor saxophones, piano & wooden flute; John Ruocco - tenor saxophone, clarinet & bass clarinet; Marius Beets – bass; Eric Ineke - drums

Lieb Plays The Beatles

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Charles Tolliver - Impact

Styles: Trumpet Jazz
Year: 1975
File: MP3@320K/s
Time: 48:12
Size: 110,5 MB
Art: Front

(8:01)  1. Impact
(8:24)  2. Mother Wit
(6:22)  3. Grand Max
(9:51)  4. Plight
(7:24)  5. Lynnsome
(8:07)  6. Mournin' Variations

Trumpeter/flügelhornist Charles Tolliver often straddled the line between the lyricism of hard bop and the adventurous nature of the avant-garde. Released in 1975, Impact contained a stimulating progressive edge within an energetic large band (14 horns, eight strings, and rhythm section) format. Tolliver's arrangements are consistently bright and build momentum, while the soloists are given sufficient room to maneuver through the multiple textures. Featured soloists in the remarkable reed section include Charles McPherson, James Spaulding, George Coleman, and Harold Vick. ~ Al Campbell  http://www.allmusic.com/album/impact-mw0000626875

Personnel: Charles Tolliver (trumpet, flugelhorn); Winston Collymore, Noel Pointer (violin); Julius Miller, Ashley Richardson (viola); Gayle Dixon, Noel DaCosta (strings); James Spaulding (flute, piccolo, soprano saxophone, alto saxophone); Harold Vick (flute, soprano saxophone, tenor saxophone); Charles McPherson (alto saxophone); George Coleman (tenor saxophone); Charles Davis (baritone saxophone); Richard Gene Williams , Larry Greenwich, Jimmy Owens, Jon Faddis, Virgil Jones (trumpet); Garnett Brown, John Gordon, Jack Jeffers, Kiane Zawadi (trombone); Stanley Cowell (piano); Clifford Barbaro (drums); Big Black (congas, percussion); Warren Smith (percussion, chimes); Billy Parker (percussion).

Impact

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Walt Weiskopf Quartet - A World Away

Size: 130,9 MB
Time: 56:38
File: MP3 @ 320K/s
Released: 1994
Styles: Jazz
Art: Front

01. A World Away (7:31)
02. Heads In The Clouds (7:42)
03. Immortal Soul (7:16)
04. Mercenary (6:38)
05. The Long Hot Summer (4:39)
06. Oceans (6:16)
07. Paradox (6:04)
08. December (5:04)
09. Dragon Lady (5:23)

Personnel:
Walt Weiskopf - Tenor Sax
Larry Goldings - Organ
Peter Bernstein - Guitar
Bill Stewart - Drums

For those of you who crave the Larry Young-Grant Green Blue Note sides of the '60s, this should sufficiently whet your appetite. Tenor saxophonist Weiskopf has come up with a winning formula, adding his deft, fluid, literate tenor to the Larry Goldings organ trio; Goldings on Hammond B-3, Peter Bernstein on guitar, and Bill Stewart on drums. The combination is quite likable, Goldings and Bernstein particularly have clearly defined roles which they execute with verve and passion. Weiskopf, 33 years old at the time of this recording, does not display influences on his sleeve, nor does he have a distinctive voice, but his playing is all his own without resorting to copped licks. He's quite good, and wrote all save one of these nine selections. The more urgent numbers are the ones that stand out, because on them, there's not only a shared interest in swinging hard, but a kineticism that seems to flow naturally with uptempos. Hard-bop numbers like "Paradox," and "Dragon Lady" are no-nonsense, mainstream, horn-fired delights. The title track has similar forward motion, but exudes a deeper, soulful feel with devices clearly and originally wrought by Young and Green. The quick waltz "Oceans" shows their adaptability in a more dancing scheme; improvs fly here and there with no hesitation. The steamier waltz "Heads In the Clouds" refers to musical daydreaming, while the lone standard "The Long, Hot Summer" is a light yet resilient, hopeful ballad. As for the blues, the trio offers the extra patient "Immortal Soul," rife with impulse-driven lines from the leader, and the easy swinger "December" with a more animated Weiskopf, especially on his solo. "Mercenary" may be the topper, a modal vehicle on the head with its hard swinging bridge and Bernstein in his element, tossing in bits of Green, Wes Montgomery and Kenny Burrell, altered to his own style. Stewart is the jazz mercenary here; his workout at the end of the bridge is all you want from a great drummer, and what you always get when he performs live. It would be nice if Weiskopf would explore this format even further. Though he does many other types of mainstream and modern jazz with different groups (his own and others), he seems to be quite comfortable with this band, who stand on their own. Weiskopf's tenor is a cool cherry on top. Recommended. ~ Michael G. Nastos

A World Away

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Yonrico Scott - Only A Smile

Size: 72,4 MB
Time: 31:00
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Swish (3:41)
02. Dance Of Life (3:35)
03. Them Changes (4:13)
04. Out Of The Madness (4:41)
05. Crazy (6:49)
06. Ode To Ricky (2:10)
07. Only A Smile (5:47)

Longtime member of The Derek Trucks Band and current member of Royal Southern Brotherhood, Grammy Award Winner Yonrico Scott releases his third CD for Blue Canoe Records titled, "Only A Smile".

Featuring Ronda Scott (vocals), Kofi Burbridge (keys/flute), Todd Smallie (bass), Joseph Patrick Moore (bass), Larry Jackson (alto/tenor sax), Mace Hibbard (alto/tenor sax), YS Jr. (hand percussion), Lebron Scott (bass),
Randy Honea (guitar), Buzz Amato (keys), Rick Hinkel (guitar), Count Mubutu (congas), Grant Green Jr. (guitar), Bruno Spreight (guitar), Oliver Wells (keys, bass, string arr.), Tiffany Jackson (bgv) and Minnie Orr (bgv).

Only A Smile

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Kama Ruby - Rock Dreams In Jazz

Size: 101,2 MB
Time: 42:15
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Embraceable You (Intro) (1:42)
02. Embraceable You (3:12)
03. God Bless The Child (5:34)
04. Hotel California (7:57)
05. Nature Boy (5:54)
06. Sisters Of The Moon (7:21)
07. Something Cool (4:16)
08. Total Control (6:16)

Kama Ruby is a jazz vocalist/actress/dancer. Her credits include Stella in a Western States Tour of “A Streetcar Named Desire,” a producer and cast member in “Stages: A Unique and Unusual Cabaret” that has quarterly performances in various cities in California as well as performing with the Utah Shakespearean Festival, the Kern Shakespeare Theater, the Rogue Fringe Festival, the Nevada Conservatory Theater, and many other venues.

Kama’s focus in the last several years has been on performing as a jazz vocalist. Gifted with a beautiful, sexy, and sultry voice, she is well versed in the standard jazz vocal repertoire. Her performances of classics such as “Something Cool” or “One for My Baby” display her remarkable emotional as well as vocal range.

However, whether performing as a solo artist, backed by an accompanist, or with her band, Kama Ruby and Company, she also adheres to the notion that “Jazz isn’t just for the straight ahead folks!” by covering compositions that are hardly ever associated with jazz. She combines her love for jazz with her love for classic & alternative rock, and gives those tunes a completely different, jazzy flavor, while still maintaining the recognizable feel of the originals.

As a jazz singer, she has opened for, performed with, and studied with a variety of jazz musicians, including Tom Scott and Clayton Cameron. She has continued her jazz education by participating in jazz clinics given by Carl Saunders, Javon Jackson, Dave Tull, Barbara Morrison, Sherry Williams, Theo Saunders, Henry Franklin, and others.

Kama's first album “Kama Ruby, Straight-up & Chilled” and her sophomore album, "Kama Ruby: Rock Dreams in Jazz" are both a mix of jazz standards, acid jazz, classic rock, and pop tunes. The recordings capture the live feel of her performances and her unique take on familiar works.

Rock Dreams In Jazz

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Brian Culbertson - Live: 20th Anniversary Tour

Size: 125,4+81,5 MB
Time: 53:38+34:53
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz, Soul Jazz, Funky Jazz, R&B
Art: Front

CD 1:
01. City Lights Intro (Live) (0:40)
02. Always Remember (Live) (4:25)
03. Hollywood Swinging (Live) (2:55)
04. Do You Really Love Me (Live) (5:43)
05. Come To Me (Live) (3:59)
06. All About You (Live) (2:26)
07. Let's Get Started (Live) (3:45)
08. Fullerton Ave. (Live) (5:41)
09. Beautiful Liar (Live) (4:23)
10. Get It On (Live) (8:28)
11. Skies Wide Open (Live) (3:39)
12. Another Love (Live) (2:44)
13. Horizon (Live) (4:43)

CD 2:
01. Think Free (Live) (4:31)
02. Dreams (Live) (2:13)
03. On My Mind (Live) (3:13)
04. Secret Garden (Live) (9:31)
05. Serpentine Fire (Live) (3:27)
06. Funkin' Like My Father (Live) (4:49)
07. City Lights Outro (Live) (1:11)
08. Our Love (Live) (5:54)

Recorded live at the famed Yoshi's jazz club in Oakland, CA Sept 11-14, 2014. This is the first ever live concert CD released by Brian and his band.

Featuring: Marqueal Jordan (sax, vocals & perc), Adam Hawley (guitar & vocals), Eddie Miller (keys & vocals), Michael Stever (trumpet & keys), Rodney Jones Jr. (bass) & Chris Miskel (drums).

Even though Brian Culbertson might be categorized as jazz lite, his music has enough "oomph" to keep you interested. The talented composer, arranger, keyboardist, and trombonist displayed a talent beyond his years at an early age, and credits his dad with helping him develop an ear for the type of music he makes. His father, Jim Culbertson, a respected high school jazz band director and trumpeter, cultivated a love of sanguine sounds in the young Brian, who eagerly listened to anything his dad put on the stereo. Their Decatur, Illinois, home would be alive with the recorded sounds of Maynard Ferguson, Buddy Rich, the Brecker Brothers, and David Sanborn. Growing up, Culbertson also listened to '70s R&B/pop/funk bands like Blood, Sweat & Tears, Tower of Power, and Earth, Wind & Fire. He began his musical training at the age of eight with piano lessons; at nine he moved to drums, at ten trombone, and at 12 bass. Bored with classical recital pieces, he began composing in junior high. By his freshman year in high school, he was experimenting with the then-new Yamaha DX-7 synthesizer and an old four-track recorder in the basement of his parents' home. His dedication earned him six individual and five group Down Beat student awards.

During his high school years, he started getting into MIDI sequencing and synthesizers. He couldn't find players who were able to play his songs on the level he wanted, as most of his peers were into heavy metal, so Culbertson, who cites pop producer/songwriter David Foster (Earth, Wind & Fire's "After the Love Is Gone") as one of his strongest influences, learned how to play all the parts himself. After graduation, Culbertson headed to Chicago to begin studies in the music program at DePaul University. On campus, he began to run into high-level musicians and started playing in a band. A family friend helped Culbertson get a deal with Mesa/Blue Moon in 1994. In the bedroom of the apartment he shared with three college buddies, Culbertson single-handedly recorded his debut album, Long Night Out. The album spent ten consecutive weeks in the Top Five of the adult contemporary charts. On his follow-up album, Modern Life, Culbertson eschewed the one-man band approach in favor of a live band made up of some of the best musicians in Chicago, plus stellar saxophonist Gerald Albright.

He's since put out several other albums, including After Hours (1995), Secrets (1997), and Somethin' Bout Love (1999). Culbertson's productions include albums by Bob Mamet and Steve Cole. Having gotten into composing advertising jingles, Culbertson set his sights on soundtracks. In 2001 the pianist (who could play the trombone, trumpet, and percussion as well) released Nice & Slow, followed by Come on Up in 2003. Two years later he issued It's on Tonight, and in 2006 Soulful Christmas, a collection of holiday favorites as well as an original. In 2008 Culbertson released Bringing Back the Funk, an acclaimed album that is credited with bringing new life to the urban jazz genre. It featured a sizable list of collaborators including Bootsy Collins, Larry Graham, Ray Parker, Jr., and David T. Walker, just to name a few. He followed it with a live album in 2009 and XII, a return to the studio, in 2010. In June of 2012, Culbertson released Dreams, his 13th album, featuring a host of all-star contemporary jazz and R&B session players and vocalists. Later that year he set about realizing a dream project.

Now an independent artist, Culbertson had long desired to revisit the music from his 1994 debut offering, A Long Night Out, which was initially cut in his apartment on a very limited budget. He played most of the instruments himself but also enlisted a small backing group. In 2013 he re-recorded the same tracks, with a large all-star lineup that included Nathan East, Russ Freeman, Steve Lukather, and Candy Dulfer, to name a few, plus a 33-piece orchestra. Entitled Another Long Night Out, it was issued on his own BCM label in February of 2014.

Live: 20th Anniversary Tour CD 1
Live: 20th Anniversary Tour CD 2

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Tamra Hayden - Love Is...

Size: 93,7 MB
Time: 40:03
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Broadway
Art: Front

01. But Beautiful (3:30)
02. Every Step Of The Way (2:57)
03. I Got A Number (2:02)
04. Something's Gotta Give (2:39)
05. Alright, Ok, You Win (2:38)
06. Song For An Accident (Acoustic Version) (3:40)
07. Temporarily Lost (3:21)
08. Lucky (Acoustic Version) (4:23)
09. Fever (3:59)
10. When You Are Old And Gray (3:20)
11. It All Fades Away (4:56)
12. Love Is.. (2:31)

From Broadway to the Blues, critics have called Tamra Hayden, an 'emotionally rich, psychologically detailed singer that can reheat coffee' and 'outsizzle Peggy Lee'.
Tamra Hayden performed on Broadway as Cosette in Les Miserables and Texas in Cabaret (Studio 54); Off-Broadway in Jacques Brel Is Alive And Well And Living In Paris; and has toured throughout the US as Christine in Phantom of the Opera, Cosette in Les Miserables, It Ain't Nothin' But The Blues, and Hodel in Fiddler On The Roof (opposite Theodore Bikel).
A versatile singer, Tamra performed with organist, Michael Gailit, at St. Stephen's Cathedral, Vienna, as part of the Lange Nacht der Kirchen, as well as Broadway Pops Concerts with The Nashville Symphony, Charlotte Symphony, Tucson Symphony, New Jersey Symphony, and Palm Beach Pops, to name a few.
Chosen as one of the "Top Ten to watch in 2010" by CDBaby, Tamra's numerous musical collaborations have resulted in a wide variety of recordings including: Love Is...; Tradition, Tartan & Tears; I Believe In The Fire; A Day At The Fair; Reggae On Broadway; Songs From The North Country; Stars At Night; Angus Mohr's: A Christmas Pageant; and Unwrapped.

Love Is...

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Michael Haggins - Dare To Dream

Bitrate: MP3@320K/s
Time: 30:33
Size: 70.0 MB
Styles: Contemporary jazz
Year: 2015
Art: Front

[3:29] 1. Dare To Dream
[3:40] 2. There's Nothing More Beautiful Than You (Instrumental)
[4:10] 3. Natural Wonder
[3:37] 4. Here I Come
[3:41] 5. Summer's Gone
[4:24] 6. World Of Dreams (Remix)
[3:40] 7. There's Nothing More Beautiful Than You
[3:48] 8. In Your Lifetime (Remix)

Michael Haggins is a successful contemporary bass player and songwriter in the L.A. scene. Michael, who was born in Pasadena and began playing music in his early teens, has worked and recorded with many artists while also working in the Network Television industry.

Michael continues to write and produce songs with his special brand of original music with his own unique sound. Michael's touring band, Michael Haggins & Friends, is based in Southern California.

Dare To Dream

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A La Carte Brass & Percussion - Boogeyin'! Swamprock, Salsa & 'trane

Bitrate: MP3@320K/s
Time: 51:04
Size: 116.9 MB
Styles: Funk, Salsa, New Orleans Jazz
Year: 2009
Art: Front

[5:58] 1. Papa Was A Rolling Stone
[4:12] 2. Tipitina
[3:14] 3. Mellow Saxophone
[4:35] 4. After The Rain
[1:11] 5. Canto Por Elegua
[4:34] 6. Sidewinder
[6:19] 7. Calcutta Cutie
[5:05] 8. Who Do Da Voodo
[8:19] 9. Blues A La Carte
[5:16] 10. Canteloupe Island
[2:14] 11. Theme From 'i Love Lucy'

A La Carte serves up a New Orleans street band marinated with a hot salsa percussion section. The brass section stomps like the Dirty Dozen and moans like a Bourbon Street funeral. Led by Santana’s Gali Sanchez, the percussion anchors the celebration with impact and fire. A La Carte’s repertoire is a danceable mixture of jazz and pop—everything from a funk and salsa rendition of “Papa Was A Rolling Stone” to Lee Morgan’s “Sidewinder”. This recording’s “…so real you can tell what the trumpet players ate for lunch,” according to Stereophile.

Boogeyin'! Swamprock, Salsa & 'trane

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Carmen Leggio Quartet - Carmen Leggio Quartet Featuring Joe Cohn

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 53:10
Size: 122,4 MB
Art: Front

(4:53)  1. Softly, As In A Morning Sunrise
(3:04)  2. Lose One-Gain One
(7:32)  3. It Had To Be You
(5:26)  4. Black Orpheus (A Day In The Life Of A Fool)
(4:23)  5. Emily
(5:22)  6. Gone With The Wind
(3:36)  7. You Go To My Head
(6:00)  8. Embraceable You
(5:25)  9. Polka Dots And Moonbeams
(3:01) 10. Sing, Sing, Sing
(4:23) 11. Undecided

New York tenor saxophonist Carmen Leggio has performed with the likes of Gene Krupa, Woody Herman, Benny Goodman and Maynard Ferguson. This self-titled quartet recording finds the veteran reedman swinging hard on eleven standards done in a no-nonsense, straight-ahead manner. Leggio is joined by guitar great Joe Cohn, bassist Rick Petrone and drummer Joe Corsello. Leggio rips through familiar themes like "Softly, as in a Morning Sunrise," "It Had to Be You" and "Emily" with assuredness, speaking through his horn with a lyrical ease reserved for the most seasoned of players. The saxophonists pronounced, in-the-pocket phrasing on "Gone With The Wind" is reminiscent of Stan Getz. Cohn plays the dual role of sensitive accompanist and inventive soloist. His piano-style comping behind Leggio on "You Go to My Head" expands one's expectations of the guitar's capabilities. Cohn's brilliant single-line soloing on the Leggio burner "Lose One-Gain One" and the classic ballad "Embraceable You" is evidence of bop mastery. Petrone and Corsello keep things moving along with impeccable time and soulful grooves. Petrone's warm tone and lively lines sparkle on "Black Orpheus" and "Polka Dots and Moonbeams." The session closer, "Undecided" is an energetic romp with inspired trading between Leggio and Cohn. An all around wonderful recording, the disc beckons for repeated listening. ~ John Barron  

http://www.allaboutjazz.com/carmen-leggio-quartet-carmen-leggio-mighty-quinn-productions-review-by-john-barron.php

Personnel: Carmen Leggio: tenor saxophone; Joe Cohn: guitar; Rick Petrone: bass; Joe Corsello: drums.

Carmen Leggio Quartet Featuring Joe Cohn

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Rachelle Ferrell - Rachelle Ferrell

Styles: Vocal And Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 66:09
Size: 155,1 MB
Art: Front

(6:08)  1. I'm Special
(5:39)  2. Welcome To My Love
(6:02)  3. Waiting
(4:41)  4. It Only Took A Minute
(6:23)  5. With Open Arms
(6:16)  6. 'Til You Come Back To Me
(3:46)  7. You Can't Get (Until You Learn To Start Giving)
(6:26)  8. Nothing Has Ever Felt Like This
(3:56)  9. I Know You Love Me
(3:39) 10. Sentimental
(4:38) 11. Could've Fooled Me
(4:11) 12. Too Late
(4:19) 13. Peace On Earth

Rachelle Ferrell wore two hats in the 1990s: straight-ahead jazz singer and commercial R&B/pop singer along the lines of Anita Baker, Miki Howard, and Angela Bofill. Produced mostly by George Duke, this self-titled album is an example of her R&B/pop side. With this smooth, classy effort, Manhattan/Capitol was obviously intent on appealing to the more adult-oriented tastes in the urban contemporary market. While artists like Mary J. Blige, Bell Biv DeVoe, Babyface, and Janet Jackson were making R&B relevant to hip-hoppers, Ferrell opted for maximum quiet storm appeal with this album. 

If you were buying a lot of Baker, Luther Vandross, and Freddie Jackson albums in the early '90s (along with some Grover Washington, Jr. and Joe Sample, perhaps), you were exactly the type of listener Manhattan/Capitol had in mind with sophisticated numbers like "It Only Took a Minute," "'Til You Come Back to Me," and "Sentimental." Most of the songs are appropriate vehicles for the Philadelphian's big, rich voice, but while this collection of mood music isn't bad, it isn't the gem that Ferrell had the ability to deliver. As pleasant and likable as much of the material is, one got the impression that she was capable of a lot more. ~ Alex Henderson  

http://www.allmusic.com/album/rachelle-ferrell-mw0000084207

Personnel: Rachelle Ferrell (vocals, piano, keyboards, horns, strings, organ); Will Downing (vocals); Michael J. Powell (guitar, percussion); Paul Jackson, Jr., Kevin Eubanks, Mike Campbell, Carlos Rios (guitar); Oscar Brashear (trumpet); George Bohannon (trombone); Barry Eastmond, Vernon Fails, Brian Simpson (keyboards); George Duke (keyboards, strings, percussion, background vocals); Freddie Washington, Al Turner, Larry Kimpel, Anthony Jackson (bass); Ricky Lawson, Buddy Williams, Doug Nally (drums, cymbals); Paulinho Da Costa (congas); Steve Thornton (percussion); David I. Ward II, Paul D. Allen (programming); Jim Gilstrap, Carolyn Perry, Lori Perry, Darlene Perry, Sharon Perry, Lynn Fidmont-Linsey, Josie Jones, Alex Brown (background vocals).

Rachelle Ferrell

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Sachal Vasandani - Eyes Wide Open

Styles: Vocal
Year: 2007
File: MP3@256K/s
Time: 56:15
Size: 103,5 MB
Art: Front

(4:36)  1. Naked As We Came
(5:47)  2. Please Mr. Ogilvy
(6:13)  3. A Flower Is A Lovesome Thing
(5:03)  4. Its Only Love That Gets You Through
(3:03)  5. Storybook Fiction
(3:30)  6. Strange Things Happening
(4:16)  7. Send 'Em Up To Heaven
(6:25)  8. I Could Have Told You
(3:59)  9. I Was Just One More For You
(4:41) 10. September In The Rain
(2:59) 11. I Can't Give You Anything But Love
(5:37) 12. You Won't Forget Me

Sachal Vasandani has all the right credentials in tow as he makes his debut recording. He was a semi-finalist at the 2004 Thelonious Monk Institute Competition. He has a string of appearances in New York that have served to showcase his talent as a singer. And he has the right instincts when it comes to selecting the songs for his CD. He does not restrict himself to jazz, a good thing considering that he leans strongly into pop territory here. Vasandani has a fine voice. He is articulate and he parlays his sense of phrasing into some vivid experiences. Helping him along are pianist Jeb Patton, bassist David Wong and drummer Quincy Davis. Guests including vibraphonist Stefon Harris, trumpeter Marcus Printup and guitarist Doug Wamble extend the parameters. 

Vasandani wrote three tunes, of which "Please Mr. Ogilvy not only has a sly sense of humor, but also a blues feel, attributes that give it strength and pith. "Send 'Em Up to Heaven has a strong pulse. Vasandani gets into the depth of the lyric and whirls it forward, capturing the doubts that assail one, on this song that deals with the struggle to forgive. He rips into "Strange Things Happen, curling his voice around the words, chewing on them and letting the coil jump loose in a welter of blues. Printup adds to the punch with some earthy, deep rooted play on the trumpet. One of the finest moments comes with his take of "I Could Have Told You, in which all the pain comes through in the shades he brings to the tale of a love lost. Vasandani makes enough of an impact and points the way to a promising future. ~ Jerry D’Souza  http://www.allaboutjazz.com/eyes-wide-open-sachal-vasandani-mack-avenue-records-review-by-jerry-dsouza.php
 

Personnel: Sachal Vasandani: vocals; Quincy Davis: drums; Jeb Patton: piano, Rhodes; David Wong: acoustic bass; Stefon Harris: vibes and marimba (2, 7, 12); Marcus Printup: trumpet (6, 8 11); Doug Wamble: guitar (1, 5, 9, 11).

Eyes Wide Open

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Count Basie, Joe Turner - The Bosses

Bitrate: MP3@320K/s
Time: 44:00
Size: 100.7 MB
Styles: Jazz-blues
Year: 1974/2006
Art: Front

[6:41] 1. The Honeydripper
[2:36] 2. Honey Hush
[4:42] 3. Cherry Red
[3:55] 4. Night Time Is The Right Time
[4:57] 5. Blues Around The Clock
[3:57] 6. Since I Fell For You
[3:27] 7. Flip Flop And Fly
[5:36] 8. Wee Baby Blues
[3:50] 9. Good Morning Blues
[4:16] 10. Roll 'em Pete

Bass – Ray Brown; Drums – Louis Bellson; Guitar – Irving Ashby; Piano, Organ – Count Basie; Tenor Saxophone – Eddie Davis, Zoot Sims; Trombone – J.J. Johnson; Trumpet – Harry Edison; Vocals – Joe Turner.

Count Basie and an all-star band (including trumpeter Harry Edison, trombonist J.J. Johnson and the tenors of Eddie Davis and Zoot Sims) back up veteran Kansas City blues singer Big Joe Turner on one of his better later albums. The many fine solos inspire Turner, who is in top form on such tunes as "Night Time Is the Right Time," "Wee Baby Blues" and "Roll 'Em Pete." ~Scott Yanow

The Bosses

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Chris Bennett - Less Is More

Bitrate: MP3@320K/s
Time: 49:40
Size: 113.7 MB
Styles: Jazz vocals
Year: 2003
Art: Front

[3:23] 1. Drifting
[3:07] 2. Where Do You Start
[3:32] 3. Isnt It Romantic
[4:07] 4. My Foolish Heart
[3:49] 5. Make Me New For You
[3:38] 6. People Will Say Were In Love
[5:46] 7. Dindi
[5:05] 8. Theme From Midnight Express
[4:10] 9. Feels Like A Heartbreak
[3:46] 10. You Never Saw Me Dance
[3:29] 11. Less Is More
[5:40] 12. Some Other Time

Chris Bennett is a versatile singer whose spine-tingling voice generates soft power. She gets her message across with quiet subtlety and always seems to fully understand the words she is interpreting. Although not really an improviser, Bennett is quite effective throughout this ballad album. Singing some older tunes (including "Isn't It Romantic," "My Foolish Heart" and "Some Other Time") and six of her melodic originals (which are generally pop-oriented), Bennett is featured in several different settings. There are some duets with pianist Eric Doney, a few of the other pieces also use guitarist Wayne Johnson, bassist Cliff Hugo, percussionist Bobbye Hall, flutist Gary Herbig, the tenor of Armando Castagnoli and/or violinist Haim Shtrum (who has a pretty tone), and the singer plays piano on three of her songs. With a few exceptions (such as "Make Me New For You"), the emphasis is on slower tempos, but Bennett's sensuous long tones make the record quite listenable. ~Scott Yanow

Less Is More

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Colin Hodgkinson - The Bottom Line

Bitrate: MP3@320K/s
Time: 45:34
Size: 104.3 MB
Styles: Electric bass guitar jazz
Year: 1999
Art: Front

[3:43] 1. 32-20 Blues
[2:24] 2. Blues For Jimmy Yancey
[2:49] 3. The Black Mirror
[4:28] 4. The San Francisco Bay Blues
[2:21] 5. Southpaw Delta
[5:03] 6. The Sliding Delta
[2:47] 7. Jenny's Rag
[4:39] 8. Sons And Brothers
[6:02] 9. Thight Lines And Screaming Reels
[8:37] 10. All Blues
[2:37] 11. Are Your Sure

Colin Hodgkinson's extraordinary talents on the bass guitar are still woefully underpublicized; his groundbreaking albums from the 1970s with Back Door, where the bass was played like a lead guitar (and was indeed the actual lead instrument), have always been difficult to find. On other albums with collaborators like Brian Auger and Spencer Davis, listeners have been teased with the occasional bass-only song.

What a treat, then, to find a release that is in effect an entire album of bass solos. On songs like "32-20 Blues," "San Francisco Bay Blues," and "Sliding Delta" he chops his way through old blues numbers with nothing but a bass and his own voice, and the effect is startling. A few other songs, such as "Sons and Brothers and "All Blues," are played as a trio. But, as the title indicates, it all comes down to his righteous bass riffs. This is, quite simply, an album that every bass guitarist should own. ~Paul Collins

The Bottom Line

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Hot Club Of The Americas - Federico Britos Presents Hot Club Of The Americas

Bitrate: MP3@320K/s
Time: 61:29
Size: 140.8 MB
Styles: Latin jazz, Bossa Nova, Samba
Year: 2015
Art: Front

[4:11] 1. The Sheik Of Araby
[4:29] 2. J'attendrai (Feat. Hendrik Meurkens)
[6:03] 3. I'm Confessin' That I Love You (Feat. Gonzalo Rubalcaba)
[5:26] 4. Djangology
[6:17] 5. La Vie En Rose (English Version) [feat. Cécile Mclorin Salvant]
[5:07] 6. Dark Eyes (Feat. Giovanni Hidalgo)
[4:55] 7. Melodie Au Crepuscle (Feat. Antônio Adolfo)
[3:56] 8. Exactly Like You
[4:58] 9. Nuages
[4:24] 10. Honeysuckle Rose
[5:19] 11. Tears
[6:18] 12. La Vie En Rose (French Version) [feat. Cécile Mclorin Salvant]

Federico Britos - Violin; Jorge Garcia - Guitar; Felix Gomez - Piano; Renyel Rivero - Bass; Carlomagno Araya - Drums; Edwin Bonilla - Percussion.

For years Federico Britos has performed sets all over the world that include the music of the Hot Club of France and Latin Jazz. Carlomagno Araya, Federico's drummer, had the idea of recording music frequently performed by Stephane Grappelli but in Latin Jazz styles. From this concept, and the friendly contribution of Federico's friend, Nat Chediak, was born the name Hot Club of The Americas. It is a band that performs a unique blend of Latin and Gypsy Jazz.

Recording began and friends of Federico started signing up to take part. Featured guest artists include, Gonzalo Rubalcaba (piano), Giovanni Hidalgo (congas), Cecile McLorin Salvant (voice), Antonio Adolfo (piano) and Hendrik Meurkens (harmonica).

All of the tracks were arranged by Hugo Sanchez with the exception of the Samba and Bossa Nova which were arranged by Jaui Schneider.

Federico Britos Presents Hot Club Of The Americas

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Danielle Eva - Road And Moon

Styles: Vocal Jazz

Year: 2010
File: MP3@320K/s
Time: 49:29
Size: 114,0 MB
Art: Front

(5:04)  1. I Sing In Blue
(5:20)  2. Both Sides Now
(5:07) 3. Softly As In a Morning Sunrise / Little Sunflower
(3:47)  4. Detour Ahead
(2:36)  5. Convenient Distraction
(3:13)  6. Blackberry Winter
(4:15)  7. Where is Love
(4:10)  8. And When I Die
(6:02)  9. Kiss
(4:15) 10. Begin Again
(5:35) 11. He's Gone Away/Willow Weep For Me

What do you get when you mix one part Lizz Wright, one part Alyssa Graham and a dash of Chiara Civello? The answer is vocalist Danielle Eva. Eva's music could be characterized as roots-infused jazz with a pop spin on the production, but plenty of other influences seep into the mix. A large cast of musicians joins her for Road and Moon her own personal travelogue and her diverse tastes are reflected in the songs she chooses to cover. Female singer-songwriters are represented with Joni Mitchell's "Both Sides Now" and Laura Nyro's "And When I Die." The former leans towards the pop side, with Federico Pena Gonzalez contributing some fine piano work. The latter moves in a country-folk direction, gaining authenticity through Dave Gingrich's delightful dobro work. While Mitchell's music has become a given for female jazz vocalists, Nyro's music rarely crosses style lines and Eva's performance makes a compelling argument for a greater need to mine her catalog. Alec Wilder's "Blackberry Winter," a spine-tingling, under-performed piece that's seeing a comeback thanks to people like vocalist Hilary Kole and Eva, is the most engaging, intimate performance on the album. Eva's voice and Gavin Fallow's bass go it alone, and the resulting music is stunning. 

Eva is equally compelling during the first, a capella, portion of "He's Gone Away/Willow Weep For Me." With all instrumental adornments removed, Eva comes across like a sultry Appalachian siren. When violin, acoustic bass and guitar enter, the music moves towards a backwoods folk-jazz that is relaxed, yet luxuriant. "Where Is Love" might seem more natural as cabaret fodder than jazz-pop, but is beautifully rendered. Eva's arrangement, recasting it in five, is well-suited to the song, and her vocals exhibit a sense of longing that often seems absent from other takes on this tune. The only misstep comes with a keyboard solo that has a less-than-desirable faux-woodwind sound. The same goes for the solo on Eva's otherwise-enjoyable Latin-leaning album opener, "I Sing In Blue." The penultimate performance of "Begin Again" which has a hip "Higher Ground" meets Graceland era Paul Simon groove (Warner Bros, 1986), bookending an expansive middle section is the most original sounding of Eva's own compositions. Across eleven tracks, Road And Moon presents pictures of love, longing, sadness, joy and the world-at-large, delivered with class by Eva's gorgeous voice.        ~ Dan Bilawsky  http://www.allaboutjazz.com/road-and-moon-danielle-eva-devour-music-review-by-dan-bilawsky.php
 

Personnel: Danielle Eva: vocals; Lenny Robinson: drums, percussion (1-4, 7-9, 11); Federico Pena Gonzalez: piano, keyboards (1-4, 7, 9); Gavin Fallow: acoustic bass, electric bass (1-3, 6, 7, 9, 11); Michael Bowie: acoustic bass (4, 8); Alvin White: guitar (2, 3, 7); Chuck Underwood: guitar (1, 9, 11); Bob Spates: violin (11); Dave Chappell: electric guitar (8); Dave Gingrich: dobro (8); Dan LaVelle: guitar (5); Rickard Malmsten: fretless bass (5); Anthony Fernandes: percussion (5); Bilal Karaman: guitars (10); Ozan Musluoglu: electric bass (10); Ferit Odman: drums (10).

Road And Moon

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Cannonball Adderley - Nippon Soul

Styles: Saxophone Jazz
Year: 1963
File: MP3@320K/s
Time: 46:17
Size: 106,8 MB
Art: Front

( 9:27)  1. Nippon Soul (Nihon No Soul)
( 3:45)  2. Easy To Love
(10:44)  3. The Weaver
( 2:33)  4. Tengo Tango
( 6:53)  5. Come Sunday
(12:51)  6. Brother John

Recorded live in Tokyo on July 14th and 15th, 1963, Nippon Soul is not the Asian-jazz fusion suggested by the title (check out Cal Tjader's Several Shades of Jade and Breeze From the East for that), but a solid live set that showcases one of Cannonball Adderley's finest groups, featuring himself, brother Nat Adderley on cornet, bassist Sam Jones, drummer Louis Hayes, and most notably pianist Joe Zawinul and reedsman Yusef Lateef. Both near the beginnings of their careers, Zawinul and Lateef nonetheless dominate this set; two of the original tracks are by Lateef, including the centerpiece "Brother John," for John Coltrane and featuring an astonishing extended Lateef solo on oboe, an instrument not normally associated with jazz, but which takes on an almost Middle Eastern fluidity and grace in its approximation of Coltrane's "sheets of sound" technique.

Zawinul arranged the standards for the group, reinterpreting Cole Porter's warm "Easy to Love" as a fleet bebop vehicle for a wicked Adderley solo and working the "Come Sunday" section of Duke Ellington's "Black, Brown and Beige" into a full gospel-style call and response between himself and Jones. Often overlooked, this is one of Adderley's finest albums. The CD reissue includes an extra track, an extended take on "Work Song." ~ Stewart Mason  

http://www.allmusic.com/album/nippon-soul-mw0000654719

Personnel: Cannonball Adderley (alto saxophone); Yusef Lateef (flute, oboe, saxophone, tenor saxophone); Nat Adderley (cornet); Joe Zawinul (piano, electric piano, organ); Louis Hayes (drums).

Nippon Soul

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Kenny Drew Trio - The Lullaby

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 40:58
Size: 93,9 MB
Art: Front

(6:43)  1. Lullaby of Birdland
(3:29)  2. Sweet Lullaby
(4:36)  3. Wiegenlied
(6:40)  4. Summertime
(7:06)  5. Hush-a-Bye
(4:33)  6. Russian Lullaby
(3:23)  7. Lullaby in Ragtime
(4:25)  8. Your Soft Eyes

Kenny Drew was born in New York City in August of 1928. At the age of 5, he began studying classical piano with a private teacher and at 8, gave a recital. This early background is similar to that of Bud Powell, the man who later became his main inspiration as a jazz pianist. After digging Fats Waller, at 12, and then Art Tatum and Teddy Wilson, Drew attended the High School of Music and Art. He was known as a hot boogie woogie player but passed through this phase before graduation. Kenny's first professional job was as accompanist at Pearl Primus' dance school. At the same time, he was alternating with Walter Bishop Jr. in a neighborhood band that included Sonny Rollins, Jackie McLean and Art Taylor. In this period, he used to hang-out on 52nd Street to listen to Charlie Parker and Powell and began sitting in at various jam sessions around town. In January of 1950, Drew made his first appearance on record, with Blue Note. Howard McGhee was the leader and the other featured soloists were Brew Moore and J.J. Johnson. One of the six sides released was “I'll Remember April.” The label, in addition to stating “Howard McGhee's All Stars”, further read, “Introducing Kenny Drew.” Later, in 1953, Kenny made his first album as a leader. Again it was Blue Note who recorded him, this time in a trio with Curly Russell and Art Blakey. 

But Kenny opted to settle in Los Angeles for the next few years. There in 1955, he formed a quartet with the late Joe Maini, Leroy Vinnegar and Lawrence Marable. The quartet first recorded together in 1955 for Pacific Jazz. In December, Jazz West, a subsidiary of Aladdin Records, brought the quartet as is into Capitol's recording studios for “Talkin' & Walkin'.” In February of '56, Kenny's band and arrangements were used for another Jazz West release, this one by vocalist Jane Fielding. A month later, Drew, Paul Chambers, John Coltrane and Philly Joe Jones made the great “Chambers' Music” for the same label, which is now reissued on Blue Note. In early 1957 Kenny made his way back to New York as accompanist for Dinah Washington. That September, he participated in John Coltrane's monumental masterpiece “Blue Train,” but his association with Blue Note did not heat up again until 1960 when he made his own “Undercurrent” as well as Jackie McLean's “Bluesnik,” and “Jackie's Bag,” Kenny Dorham's “Whistle Stop,” Dexter Godon's “Dexter Calling,” Grant Green's “Sunday Mornin'” and a couple of Tina Brooks dates all within the space of a year. Although Kenny was active on the recording and club scenes in New York and even subbed for Freddie Redd for a while in the successful Off-Broadway run of The Connection, he eventually chose to migrate to Europe. 

But he again popped up on a classic Blue Note date, Dexter Godon's “One Flight Up,” done in Paris in 1964. Kenny became a major star in Europe and Japan although his music was sadly neglected at home. He settled in Copenhagen where he ran a publishing company and was the house pianist at the Café Montmartre. He was also the pianist for the Steeplechase label, where he was on countless sessions backing visiting musicians. He left an impressive legacy of recordings both as sideman and leader. Kenny Drew died on Aug. 4, 1993. Bio ~ http://musicians.allaboutjazz.com/kennydrewsr

The Lullaby

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Dave Weckl - Rhythm Of The Soul

Styles: Jazz Funk, Fusion
Year: 1998
File: MP3@320K/s
Time: 56:52
Size: 130,3 MB
Art: Front

(6:10)  1. In The Zone
(6:20)  2. 101 Shuffle
(6:33)  3. Mud Sauce
(6:02)  4. Designer Stubble
(5:26)  5. Someone's Watching
(2:31)  6. Transition Jam
(6:01)  7. Rhythm Dance
(4:02)  8. Access Denied
(6:37)  9. Song For Claire
(6:33) 10. Big B Little B
(0:30) 11. Good Night

One interesting fact about the Dave Weckl Band's Rhythm of the Soul is that it will soon be available in five different music-minus-one play-along formats: one each for drummers, keyboardists, bassists, guitarists and saxophonists. So if you want to strike a monster groove like the Davemeister himself, now's your chance.  Rhythm of the Soul is muscular keyboard-based funk (featuring the tickled plastics of Jay Oliver) that no doubt will inspire hordes of aspiring funksters to plug in and play along in the garage. Bob Malach is along on tenor sax, soloing gamely in a neo-Arnett Cobb mode and pitching in on the unison theme statements. This is drummer Weckl's chance to show off the chops he used to power Robert Plant into the stratosphere, and he takes full advantage of it. The Wecklers kick things off here with the chunky "The Zone," where Oliver gurgles and keens, and Frank Gambale rebukes and exhorts on guitar. It's a booty-shaking opener, but the bluesy "101 Shuffle" takes us even higher. Kudos here to Buzz Feiten on guitar, who, well, has earned his nickname for playing guitar, not for a haircut or an artificially-induced sunny disposition. On "Mud Sauce" Weckl lays down a serpentine line, tastily taken up by Steve Tavaglione on soprano sax and then Buzz and the gang: Oliver and Tom Kennedy on acoustic bass. (Kennedy also plays acoustic bass on "Song for Claire," a sweetly nasty number for Weckl's baby daughter.) 

The groove is inventive and a mile wide, and once again Buzz shines for artful deployment of his wah-wah. "Designer Stubble" sounds something like "Rock and Roll Hootchie-Coo," or another one of those thick Seventies rock grooves. Buzz, Buzz, we hardly know ye. Our favorite guitar savage leaves the scene for "Someone's Watching," a cloudy synthesizer thing (thanks to Oliver on keyboard) where Tavaglione chips in with some Kenny G-laden but effective soprano. "Transition Jam" is a vehicle for Kennedy: fluent funky electric bass lines at 60 mph. On "Rhythm Dance" Mr. Kennedy lays down a nice ostinato in a Stevie Wonder mode. He's earned his stripes. To round things out, "Big B Little B" is a playful, calm feature for Oliver. Then comes "Good Night," which takes the Band out the funky way it came in. These guys must have been listening to AM radio at the same time I was but they were listening harder. Weckl and Co. are good at what they do. ~ Robert Spencer  http://www.allaboutjazz.com/rhythm-of-the-soul-dave-weckl-concord-music-group-review-by-robert-spencer.php

Personnel: Dave Weckl (drums); Frank Gambale (guitar, electric guitar, 12-string guitar, electric sitar); Howard "Buzz" Feiten (guitar); Steve Tavaglione (soprano saxophone, alto saxophone, tenor saxophone); Bob Malach (tenor saxophone); Jay Oliver (keyboards); Tom Kennedy (acoustic bass).

Rhythm Of The Soul

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