Doc Cheatham & Nicholas Payton - S/T

Bitrate: MP3@320K/s
Time: 62:09
Size: 142.3 MB
Styles: Trumpet jazz
Year: 1997
Art: Front

[5:53] 1. How Deep Is The Ocean
[3:34] 2. Jeepers Creepers
[8:40] 3. Stardust
[3:18] 4. I Gotta Right To Sing The Blues
[2:21] 5. Dinah
[4:44] 6. Save It Pretty Mama
[3:26] 7. Do You Believe In Love At Sight
[3:58] 8. Jada
[4:17] 9. I Cover The Waterfront
[3:16] 10. Maybe
[4:42] 11. Black And Blue
[6:02] 12. Out Of Nowhere
[4:53] 13. She's Funny That Way
[2:58] 14. The World Is Waiting For The Sunrise

Despite their immense age difference, Cheatham and Payton find common ground in their shared affection for Louis Armstrong. Cheatham used to sub for Armstrong in Chicago in 1926, while Payton grew up in Armstrong's hometown of New Orleans and resembles the jazz giant physically as well as musically. Many of the Tin Pan Alley standards on this project are associated with Satchmo, and the two trumpeters focus on his buttery tone and precision phrasing rather than his pyrotechnics. Like his old friend, Cheatham is a singer as well as a trumpeter, and his graceful, romantic vocals on numbers such as "I Gotta Right to Sing the Blues" and "Save It Pretty Mama" show the way for the trumpet solos, which closely resemble the human voice. It bodes well for Payton's future that he adapts so instinctively to the past. ~Geoffrey Himes

Doc Cheatham & Nicholas Payton

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Toninho Horta - From Ton To Tom: Tribute To Tom Jobim

Bitrate: MP3@320K/s
Time: 58:24
Size: 133.7 MB
Styles: Post bop, Brazilian jazz
Year: 1998
Art: Front

[4:32] 1. Meditacao
[3:58] 2. Infinite Love
[4:44] 3. From Ton To Tom
[4:39] 4. Christiana
[4:53] 5. Promessas Que Eu Flz
[5:12] 6. Desafinado
[5:42] 7. Retorato Em Branco E Preto
[3:26] 8. Modinha
[5:48] 9. Agua De Beber
[3:27] 10. Sem Voce
[6:07] 11. Chega De Saudade (No More Blues)
[5:14] 12. Se Todos Fossem Iguas A Voce
[0:36] 13. The Girl From Ipanema

When you abbreviate "Anthony" in English, you say "Tony or Tom". When you abbreviate "Antonio" in Portuguese, you say "Toninho". So Antonio Carlos Jobim and Toninho Horta are both "Antonios" and the similarity does not end with their name. This Toninho Horta's tribute to Tom Jobim happens to make it clear how similar they are in their open mind and how different they are in their top quality wonderful results. Both are great composers and players with an orchestra's conception in their minds.

This is a must-have CD. The Brazilian master guitarrist, arranger and composer Toninho Horta pays his tribute to Tom Jobim. I think it is always dangerous for an artist to use Jobim's material because it has been re-recorded over and over and over. However, this is not absolutely the case here. Toninho Horta simply re-creates all material. His creative fresh approaches are unique.

Toninho Horta sings his vocalises on all tracks and Brazilian singer Gal Costa sings on two tracks: "Chega de Saudade" (aka "No More Blues") and "From Ton to Tom", the Horta's composition dedicated to Tom Jobim. All sung in Portuguese except for one track.~Carlos from Rio

From Ton To Tom: Tribute To Tom Jobim

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John Petrucelli Quintet - The Way (2-Disc Set)

The temptation, upon hearing John Petrucelli’s uncanny flow and remarkable command of his tenor sax in all registers on tunes like the suite-like opener “Arrows of Longing,” the cascading “Boots” or his superb take on the sumptuous 1948 ballad “Early Autumn,” is to say: “Where has this cat been?” The New Jersey native spent some time in the Virginia-D.C. area working with trumpeter John D’Earth and in New Orleans, where he played in trombonist Delfeayo Marsalis’ group, before returning to the New Jersey-New York area to attend Rutgers University studying under Stanley Cowell, Charles Tolliver and Ralph Bowen, and finally relocating to Pittsburgh where he currently resides. The gifted 26-year-old now makes a startlingly mature, fully realized statement as player-composer-bandleader on his auspicious debut. Surrounded by a first-rate crew of New York players, kindred spirits and marvelous improvisers -- pianist Victor Gould, guitarist Peter Park, bassist Alexander Claffy, drummer Gusten Rudolph and special guest drummer Victor Lewis on three tracks -- Petrucelli weds astounding technique to harmonic and rhythmic invention and a forceful sense of swing on The Way.

A cursory listen to his flowing and intense tenor lines on any number of tunes here, from the urgently burning “The Flip” to “For Dawn” (dedicated to vocalist Dawn Thompson) to his forceful opus “Hil’s Blues,” will invite comparisons to such modern tenor titans and role models as Ralph Bowen, Michael Brecker, Chris Potter, Mark Turner and Donny McCaslin. But Petrucelli is also quick to point out the towering influence of Lennie Tristano disciple Warne Marsh, he of the long flowing line and vertical improvisation concept. In fact, Petrucelli did a harmonic analysis of Marsh’s recordings as his master thesis at Rutgers, and he takes those lessons to heart on The Way.

As The Way launches him on his way, saxophonist-composer-bandleader Petrucelli remains someone to watch in the future. ~Bill Milkowski

Album: The Way (Disc 1)
Bitrate: MP3@320K/s
Time: 43:40
Size: 100.0 MB
Styles: Saxophone jazz
Year: 2015

[7:18] 1. I Hear A Rhapsody
[5:16] 2. Prism
[6:50] 3. Hil's Blues
[8:57] 4. The Flip (Feat. Victor Lewis)
[8:57] 5. For Dawn
[6:19] 6. The Way (Feat. Victor Lewis)

The Way (Disc 1)

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Album: The Way (Disc 2)
Bitrate: MP3@320K/s
Time: 42:55
Size: 98.2 MB
Styles: Saxophone jazz
Year: 2015
Art: Front

[ 5:18] 1. Moment Of Grace
[ 8:45] 2. Gallop's Gallop
[ 9:32] 3. Early Autumn (Feat. Victor Lewis)
[10:05] 4. Arrows Of Longing
[ 9:12] 5. Boots

The Way (Disc 2)

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Kasia Stankowska - Passions

Styles: Vocal Jazz         

Year: 2007
File: MP3@320K/s
Time: 43:57
Size: 100,9 MB
Art: Front

(3:17)  1. In Walked Bud
(4:06)  2. Something's Coming
(5:50)  3. Skylark
(4:05)  4. Agua De Beber
(4:07)  5. Easy To Love
(6:10)  6. A Time For Love
(3:44)  7. How Am I To Know
(3:14)  8. Walking After Midnight
(3:29)  9. Sunday In New York
(5:51) 10. Afro Blue

She annually ranks high among jazz singers in the poll Jazz Top magazine "Jazz Forum". She is the winner of the first prize Zamosc Jazz Vocalists Competition 2001. Lower Silesia region is represented at the International Expo 2000 in Hanover, concerts in the Czech Republic and Slovakia. She has performed as a soloist in the Big Band Aleksander Mazur. The repertoire includes songs Wladyslaw Szpilman in jazz arrangements, which are presented in Berlin and the Polish Institute in Paris. In his vocalism uses a technique scatu. Demonstrates an extraordinary sense of harmonic and improvisational abilities.

The new album "Passions" contains 10 standards sung in English, including In Walked Bud (T. Monk, J. Hendricks), Something`s Coming (L. Bernstein, S. Sondheim), Skylark (H. Carmichael, J. Mercer), Agua de Berber (AC Jobim, N. Gimbel) Easy To Love (C. Porter, R. Cate), Sunday In New York (O. Cates, F. Nero). Translate by google  http://independent.pl/wiki/Plyta:Stankowska%20Kasia%20-%20Passions

Singer is accompanied on the album until 9 musicians: Marek Markowski – piano; Zbigniew Wrombel – bass; Jacob Olejnik – bass; Marcin Jahr – drums; Przemek Jarosz – drums; José Torres - percussion; Thomas Pruchnicki - soprano & tenor sax; Adam Viscous – trumpet; Lukasz Perek – trombone

Passions

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Katja Rieckermann - Never Stand Still

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 55:11
Size: 126,7 MB
Art: Front

(5:15)  1. Buckaroo (feat. Joe Bonamassa)
(4:07)  2. Never Stand Still
(4:46)  3. Sweet Talk (feat. D'extra Wiley)
(4:35)  4. Bourbon Street (feat. Humberto Ruiz)
(5:22)  5. My Man (feat. Arturo Sandoval)
(4:32)  6. Blues for Joe (feat. Joe Bonamassa)
(6:11)  7. Walkin' the Dog
(5:09)  8. Curaçao (feat. Russ Henry)
(5:09)  9. Funky Pussycat (feat. Lyndsay Haldorson & Arturo Sandoval)
(4:59) 10. Soul Ride
(5:02) 11. Don't Wanna Go Home (feat. Lamont Van Hook & Chuck Kentis)

Talented, attractive and sexy, Katja Rieckermann truly is a "Horn Star." Born and raised in Luebeck, a small town in the north of Germany, she moved to Hamburg to study music. Restless and looking for a challenge, she eventually made it to Hollywood, California, the starting point of so many successful careers. One of Katja's first high profile performances was with the rock band Scorpions in 1997 followed by a guest appearance with the Canadian rock band Saga. In true Hollywood fashion, Katja was eventually cast as a regular on the hit television series "Alley McBeal" and in the feature film Star Trek "Nemesis." With increased high profiled visibility, the entertainment industry quickly took notice of Katja's musical talent.

In 2001, Katja had the opportunity of a lifetime when she went on the Rod Stewart Human World tour 2001 and 2002. This opportunity gave her the ability to prove herself as a soloist, performing with a super star on an international stage. Since then, Katja has been on countless tours, concerts, TV performances, award shows and recordings with big stars like Al Green, Carol King, Brooks and Dunn, Rue Paul, Jeff Goldblum, and Branscombe Richmont, to name a few. Katja has performed in front of musicians, VIP's and music fans from all over the world, including the Queen of England! In 2007 Katja released her self-titled debut CD, title "KATJA." She also established her role as the lead saxophonist in Rod Stewart's band.

In 2008 another big time musician with the same last name as Rod, hired Katja to record saxophone on his Songbook, Vol 1: Dave Stewart from the Eurithmics. This occasion was followed by a couple of live performances with his Rock Fabulous Orchestra. Inspired by her work with big stars, Katja has been working on her 2nd CD for the last 3 years. Sandi Strmljan, an extremely talented musician, songwriter and producer, produced this progressive new project. Together, they created a new sound that combines pop, jazz, dance and electro house with a sophisticated horn section. The name of the project "Horn Star" is well earned. In Horn Star, Katja shows off her hardcore musical talent; her sensual presence and ability to please an audience shines through in every song. http://www.katjarieckermann.com/bio.html

"Never Stand Still" the title of Katja's 3rd studio album. Currently on tour with Rod Stewart for the last 13 years. Produced by Grammy nominated producer Jeff Carruthers and Katja Rieckermann. Talented and sexy Katja Rieckermann celebrates the release of her newest CD "Never Stand Still". The idea for "Never Stand Still" was born in january 2014 during a lunch with producer Jeff Carruthers. The vision was to create an instrumental version of "Amy Winehouse's Rehab", basically 70s music inspired by artists like The Temptations, Sam Cooke and Jr. Walker and the AllStars. Within the following 2 months Katja and Jeff ended up writing 11 tunes. "Ideas just kept coming at me" says Katja, which she then took to Jeff and he polished them. The next step was an Indiegogo campaign to help raise funds for the making of the CD which was very successful and made it possible for Katja and Jeff to take some of LA's best musicians to the some of the best studios in Los Angeles. Great artists like Joe Bonamassa and Arturo Sandoval gave the honor of a guest appearance. Now, a year later, the CD is finally done and will be released on HornStar Records. http://www.cdbaby.com/cd/katjarieckermann2

Never Stand Still

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Urbie Green - Sea Jam Blues

Styles: Trombone Jazz
Year: 1995
File: MP3@320K/s
Time: 70:16
Size: 162,3 MB
Art: Front

( 7:19)  1. Sea Jam Blues [C Jam Blues]
( 0:35)  2. Opening comments
( 8:14)  3. You've Changed
( 7:17)  4. Giant Steps (featuring Chris Potter)
(10:19)  5. I Thought about You
( 8:25)  6. The Song Is You
( 7:28)  7. The Bach Suite (featuring Jesse Green)
(10:52)  8. Old Folks
( 9:04)  9. But Not For Me
( 0:39) 10. Closing Comments

There are two reasons why this excellent live album is titled Sea Jam Blues. First, it was recorded aboard a "jazz cruise" in different parts of the Caribbean Sea in 1995. Second, one of the songs that Urbie Green performs on this CD is Duke Ellington's "C Jam Blues." The veteran trombonist was 68 at the time, and he is in fine form on inspired, energetic performances of that standard as well as John Coltrane's "Giant Steps," the Gershwin brothers' "But Not for Me," and Jerome Kern's "The Song Is You." Green swings passionately on the up-tempo selections, but he shows how lyrical a ballad player he can be on "You're Changed" and "Old Folks." 

The trombonist also shows that he has no problem working with both younger and older musicians; on Sea Jam Blues, he leads a cohesive quintet that includes two veteran improvisers (bassist Paul Rostock and drummer Glenn Davis) and two "Young Lions" (his piano-playing son Jesse Green and saxman Chris Potter, both of whom were in their twenties in 1995). Those who own most or all of Potter's Concord Jazz releases know that he is a flexible wind player who can handle everything from alto sax to bass clarinet to flute, but he sticks to tenor and soprano sax on this disc. 

Although Green is quite capable of playing swing and Potter is quite capable of playing modal post-bop, Sea Jam Blues is essentially a hard bop album so you can say that Green and Potter find some common ground and have a lot of fun doing it. Not all of the albums that Green has provided over the years are great, but bop fans can't go wrong with Sea Jam Blues. ~ Alex Henderson  http://www.allmusic.com/album/sea-jam-blues-mw0000617327

Personnel: Urbie Green (trombone); Chris Potter (soprano saxophone, tenor saxophone); Jesse Green (piano); Glenn Davis (drums).

Sea Jam Blues

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Luca Sestak - New Way

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 75:31
Size: 173,5 MB
Art: Front

(4:54)  1. James Weber's Breakdown
(4:25)  2. Walk with the Devil
(5:32)  3. Laci's Boogie
(6:01)  4. For Her
(6:10)  5. Blame Game
(6:26)  6. 47's Theme
(7:13)  7. Frederic's Dream (Frederic's Dream of Blues)
(6:11)  8. Joogie Wazz
(4:12)  9. Dr. James
(5:37) 10. Maymories
(6:04) 11. Put out the Light
(5:54) 12. Key Engine
(6:46) 13. O Holy Night (Cantique de Noël)

Luca was born on January 10, 1995 in Celle (Niedersachsen). At age 7 he was introduced to the piano by his father, but didn’t show much interest. For that reason two years later his parents sent him to a piano teacher who still gives him classical lessons. In 2008 Luca took part in the local piano solo competition “Youth plays music” and won 1st prize with advancement to the State Contest level. After two years of classical piano lessons Luca accidentally discovered jazz and with that also the Blues and Boogie Woogie. He self-trained and studied his first pieces of this music style and presented them at various occasions with great success. 

At age 11 he published some of his pieces on the internet platform YouTube where they quickly achieved great popularity. With rising recognition numerous performances at festivals and concerts followed in his home country as well as abroad with big-name pianists of the genre such as Silvan Zingg, Vince Weber, Bob Seeley, Frank Muschalle and Ben Waters. From 2010 to 2012 Luca presented his own concert series under the name of “Blues im Schaf” in Karlsruhe. 

Luca recorded his first CD album “Lost in Boogie” in August 2010 which was published in November of that year. One year later, Luca participated in the biggest Boogie Woogie Festival of the world in Laroquebrou, France. In 2014 Luca released his second album New Way. Today Luca’s program contains mainly his own compositions and interpretations in which he expresses his unmistakable style. He includes in these the most varied directions of music from the blues and boogie through jazz and funk all the way to pop, rock and the classics. http://veniceblues.com/artist/luca-sestak/

New Way

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Aretha Franklin - The Tender, The Moving, The Swinging Aretha Franklin

Bitrate: MP3@320K/s
Time: 57:53
Size: 132.5 MB
Styles: Soul
Year: 1963/2011
Art: Front

[3:18] 1. Don't Cry Baby
[3:13] 2. Try A Little Tenderness
[2:51] 3. I Apologize
[2:45] 4. Without The One You Love
[3:02] 5. Lokk For The Silver Lining
[2:39] 6. I'm Sitting On Top Of The World
[2:30] 7. Just For A Thrill
[3:01] 8. God Bless The Child
[3:24] 9. I'm Wandering
[2:46] 10. How Deep Is The Ocean
[2:47] 11. I Don't Know Anymore
[2:33] 12. Lover Come Back To Me
[2:13] 13. Trouble In Mind (Mono Mix)
[2:45] 14. Without The One You Love (Mono Mix)
[3:13] 15. Don't Cry, Baby (Mono Mix)
[3:23] 16. I'm Wandering (Mono Mix)
[3:12] 17. Try A Little Tenderness (Mono Mix)
[2:50] 18. I Apologize (Mono Mix)
[2:32] 19. Lover Come Back To Me (Mono Mix)
[2:46] 20. I Don't Know Anymore (Mono Mix)

The Tender, The Moving, The Swinging Aretha Franklin is the Queen of Soul's third studio album for Columbia. It was her first album to receive commercial success, becoming a massive hit on the Billboard 200. Here, Franklin performs hits and standards including “God Bless the Child,” “Try a Little Tenderness” and “How Deep Is the Ocean.” Absolutely essential.

The Tender, The Moving, The Swinging Aretha Franklin

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Lou Donaldson - A Man With A Horn

Bitrate: MP3@320K/s

Time: 55:29

Size: 127.0 MB

Styles: Hard bop, Saxophone jazz

Year: 1990/1999

Art: Front

[8:29] 1. Misty

[5:43] 2. Hipty Hop

[6:06] 3. Please

[6:28] 4. My Melancholy Baby

[5:47] 5. The Man With A Horn

[4:21] 6. Cherry Pink And Apple Blossom White

[5:09] 7. Prisoner Of Love

[7:10] 8. Soul Meetin'

[6:11] 9. Stardust

These sessions were recorded for Blue Note in 1961 and 1963. The first date features five cuts with Jack Mcduff on organ, Grant Green on guitar, and Joe Dukes on drums. The four remaining cuts were recorded two years later with John Patton on organ, Ben Dixon on drums, and the addition of Irvin Stokes on trumpet. This is a mainly mellow affair with six of the nine tracks exchanging the hard bop and soul-jazz of the times for ballads and slow blues. However, the occasional up-tempo funky surprise does pop up on "My Melancholy Baby" and the Donaldson originals "Hipty Hop" and "Soul Meetin'." ~Al Campbell

Recorded on September 25, 1961 & June 7, 1963

Man With A Horn   

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Howard Roberts - Good Pickin's

Bitrate: MP3@320K/s
Time: 43:07
Size: 98.7 MB
Styles: Guitar jazz, Mainstream jazz
Year: 1959
Art: Front

[4:21] 1. Will You Still Be Mine
[4:15] 2. When The Sun Comes Out
[2:41] 3. All The Things You Are
[4:26] 4. Lover Man
[5:46] 5. Relaxin' At Camarillo
[4:46] 6. Godchild
[4:06] 7. Easy Living
[2:41] 8. Between The Devil And The Deep Blue Sea
[4:13] 9. The More I See You
[5:48] 10. Terpsichore

Whatever you may think of guitarist Howard Roberts, Good Pickin's will likely change your mind. Prior to this release, most knowledgeable listeners would probably associate Roberts with his studio work in popular music and easy listening jazz. Good Pickin's will change that perspective forever. On this reissued 1959 session, Roberts plays straight-ahead jazz at a level that suggests that had he made different choices, he could have been known as one of the great jazz guitarists of his day.

This music is set in the West Coast jazz world of tight arrangements and incisive solos. This is ensemble jazz, and Roberts proves to be a master. Bill Holman and Marty Paich are responsible for the arrangements, making this an unusually intricate and well-planned guitar recording. The wonderful thing about the session is that it caught this band on an inspired day. The rhythm section of Red Mitchell and Stan Levey is superb, providing a drive and snap to the music that ably supports the primary soloists: Bill Holman (saxophone), Pete Jolly (piano) and Roberts (guitar).

Unison sax and guitar lines intertwine with Jolly's piano accompaniment in a complex exchange that is consistently intriguing. Jolly's piano work is a lesson for all; each track displays his subtlety and intelligence in support of others, while his concisely developed solos arise out of a style that is uniquely delicate and bold. This is as good as Holman has ever sounded to this reviewer, but the star of the show is undoubtedly Howard Roberts.

Good Pickin's presents strikingly sophisticated guitar work played with a fine-honed intensity. With these sleek arrangements and this inspired band, Roberts rises to the occasion, demonstrating his mastery of a wide range of jazz styles and tempos; ultimately it is his feel for the music that is brought home track after track. This guitar master may be more widely known for his other musical accomplishments, but fortunately Good Pickin's documents him with a hot band, playing mainstream jazz. Highly recommended. ~Mike Neely

Howard Roberts: guitar; Bill Holman: tenor sax, arranger; Pete Jolly: piano; Red Mitchell: bass; Stan Levey: drums; Marty Paich: arranger.

Good Pickin's

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Cécile McLorin Salvant & Le Jean-Françoise Bonnel Paris Quintet - Cecile

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 48:43
Size: 111,8 MB
Art: Front

(5:13)  1. Exactly Like You
(3:25)  2. Moody's Mood For Love
(3:18)  3. I've Got My Love To Keep Me Warm
(4:35)  4. I Got It Bad (And That Ain't Good)
(3:24)  5. Social Call
(2:27)  6. Detour Ahead
(4:06)  7. No Regrets
(4:42)  8. Frosty Morning Blues
(3:27)  9. Easy To Love
(4:36) 10. I Wonder Where Our Love Has Gone
(4:48) 11. Anything Goes
(4:37) 12. After You've Gone

Cecile is the debut album from 2010 Thelonious Monk International Jazz Vocals Competition winner Cécile McLorin Salvant. Recorded before her Grammy-nominated 2013 major-label debut, WomanChild, 2010's Cecile is a swinging, urbane album that showcases Salvant backed by the Jean-François Bonnel Paris Quintet. With her impeccable phrasing, bell-tone voice, and knack for picking both time-tested and unusual standards, Salvant has been hailed as one of the best jazz vocalists of her generation, all of which is evident on Cecile. ~ Matt Collar  http://www.allmusic.com/album/cecile-mw0002558144

Personnel:  Cecile McLorin Salvant – vocals;  Jean-Francois Bonnel - saxophone, clarinet;  Jacques Schneck – piano;  Enzo Mucci – guitar;  Pierre Maingourd – bass;  Sylvain Glevarec - drums

Cecile

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Pee Wee Ellis - Live And Funky

Styles: Jazz Funk, Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 60:47
Size: 139,6 MB
Art: Front

(8:26)  1. Chicken
(4:08)  2. How I Depend On You
(5:44)  3. Grandma's Hands
(5:28)  4. Pass The Peas
(8:36)  5. House Party
(6:26)  6. What's Up With That
(5:58)  7. Cherry Red
(6:44)  8. Cold Sweat - Licking Stick - Licking Stick
(4:06)  9. I Got The Feeling
(5:08) 10. I Got You (I Feel Good)

Saxophonist Pee Wee Ellis may not be a household name, but his name is spoken with reverence by other funk musicians and fans of vintage soul. A former music director for James Brown (and co-composer of such soul classics as "Cold Sweat" and "Say It Loud I'm Black and I'm Proud"), he collaborated with Brown and fellow J.B.'s Fred Wesley, Bootsy Collins, Maceo Parker, and others to establish the parameters of modern funk. 

This live album finds him reunited with several of his old compadres as well as singer Fred Ross for an unabashed revival of that sound, including a number of James Brown tunes ("Pass the Peas," "I Got the Feeling," "Cold Sweat," "I Got You [I Feel Good]"). There are a couple of missteps: the cover of Bill Withers' emotionally damp "Grandma's Hands" was utterly unnecessary, and it's not at all clear why Ellis chose to take "I Got You (I Feel Good)" at half the normal tempo. But overall, this album is lots of good, sweaty, greasy, funky fun. Recommended. ~ Rick Anderson  http://www.allmusic.com/album/live-and-funky-mw0000223145

Personnel: Pee Wee Ellis (vocals, tenor saxophone); Fred Wisley (vocals, trombone); Fred Ross (vocals); Mick Gaffney, Mike Hogan (guitar); Jimmy Smith (keyboards); Curtis Ohlson (bass); John Mader (drums).

Live And Funky

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George Cables Trio - A Letter To Dexter

Styles: Post-Bop, Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 67:35
Size: 155,2 MB
Art: Front

(7:11)  1. Catalonian Nights
(5:42)  2. Three O'clock In The Morning
(5:13)  3. Cheese Cake
(8:16)  4. Polkadots And Moonbeams
(5:58)  5. Tanya
(4:59)  6. Fried Bananas
(8:10)  7. Body & Soul
(5:01)  8. I Told You So
(6:52)  9. Who Can I Turn To
(5:38) 10. LTD (Long Tall Dexter)
(4:30) 11. Round About Midnight

During the final years of Art Pepper's life, from the mid-'70s through 1982, George Cables was the saxophonist's pianist of choice, both live and in the studio. Pepper called Cables Mr. Beautiful not just for his playing, but also for his warm and loving personality. (In particular, Pepper appreciated Cables' positive attitude to white musicians, which apparently contrasted pleasantly with that of many other sidemen he'd worked with over the years, who'd denigrate Pepper behind his back.) Cables' playing illuminated a clutch of late-period Pepper albums. One day assuming the affection was mutual we may get to hear a Cables tribute to Pepper. Meanwhile, A Letter To Dexter celebrates another saxophonist, Dexter Gordon, with whom Cables gigged and recorded a little from 1977-79.

As is to be hoped with such a fine trio of musicians each of whom played with Gordon, bassist Rufus Reid doing so contemporaneously with Cables the music is sinewy, lyrical and infectiously good-time, like Gordon himself. Indeed, there are moments when your mind wanders and you half expect Gordon himself to join in. Gordon's playlist was focused on standards, but he also wrote some enduring tunes of his own, and Cables includes four of these on the album. (The other tracks are standards, and one Cables original, "I Told You So," all of them associated with Gordon.) "Catalonian Nights," Gordon's tribute to the city of Barcelona, opens the proceedings with a hot Spanish tinge. The familiar "Cheese Cake" and the less well-known, more throwaway "Fried Bananas" (using the "It Could Happen To You" changes) both get spirited workouts. The penultimate track on the album, before a solo piano reading of "Round About Midnight," is the Gordon band's gigging signature tune, "LTD (Long Tall Dexter)." On this track in particular, Gordon's presence is almost tangible; Victor Lewis' clattering drums seemingly announce the saxophonist's entry at several points. 

Other standouts include a suitably sweaty and funktified performance of Donald Byrd's soul-jazzer "Tanya"; a lovely "Polkadots And Moonbeams," which is introduced by Cables' Gordonesque recitation of the first verse of the lyrics; and Cables' up-tempo and vigorous, at times near-barrelhouse solo reimagining of the old Monk warhorse.  There's nothing revolutionary here, but some mighty fine music and enough good vibes to make you feel happier with the world (for a while, anyway). ~ Chris May  

http://www.allaboutjazz.com/a-letter-to-dexter-george-cables-kind-of-blue-records-review-by-chris-may.php

Personnel: George Cables: piano; Rufus Reid: bass; Victor Lewis: drums.

A Letter To Dexter

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Susan Comstock Swingtet - Fly Right

Size: 108,9 MB
Time: 46:20
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz/Blues Vocals
Art: Front

01. Comes Love (3:00)
02. Do You Know What It Means To Miss New Orleans (2:42)
03. Lean Baby (3:07)
04. Angel Eyes (4:42)
05. All Of Me (3:10)
06. Sway (4:10)
07. La Vie En Rose (3:13)
08. Straighten Up And Fly Right (2:34)
09. Fine And Mellow (5:05)
10. Frim Fram Sauce (3:17)
11. Hit That Jive, Jack (3:22)
12. Manha De Carnaval (4:53)
13. Flying Home (2:58)

The Susan Comstock Swingtet was formed in 2003 around its members’ collective love for the late 1940’s classic pre-bebop jazz and blues styles. It is the quintessential jazz, blues, jump, jive and swing combo. Comprised of four consummate musicians who draw from rich and eclectic backgrounds in the arts, the Susan Comstock Swingtet synthesizes a broad range of musical styles. It explores classic vocal jazz, blues, swing and Latin styles in a fresh innovative way. Whether finessing a jazz ballad, belting out a blues standard or caressing the sultry lyrics of songs in multiple languages, Susan is a solid sender who always connects deeply on a visceral level with herself, her band, and her audience. Susan’s vibrant jazz fiddle compliments her strong, expressive voice. Collaborating with Susan on vocals and guitar is John Knutson. Other band members include Dalton Dillingham, III on bass and Paul Distel on drums.

"Susan Comstock is a marvelously talented musical artist whose expressive voice and beautiful presence is matched only by her talent as a violinist. As the star of the Susan Comstock Swingtet, she weaves a seamless collaboration with master guitarist John Knutson to offer the finest renditions of jazz and swing standards and songs of love. This is an ensemble not to be missed!" Joan Marler - French Garden Restuarant and Bistro Bar, Sebastopol, CA

Fly Right

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Jimmy McGriff, Lucky Thompson, George Freeman, O'Donel Levy - Friday The 13th At The Cook County Jail

Size: 93,4 MB
Time: 40:19
File: MP3 @ 320K/s
Released: 1972/1997
Styles: Soul/Blues Jazz
Art: Front

01. Freedom Suite (Part 1) ( 8:37)
02. Freedom Suite (Part 2) (15:45)
03. Green Dolphin Street ( 5:49)
04. Everything Happens To Me ( 5:39)
05. Cherokee ( 4:27)

This album contains two separate sets that were both performed before inmates at the Cook County Jail one day in 1972. Organist Jimmy McGriff and his quintet (with guitarists George Freeman and O'Donell Levy, bassist Mickey Bass and drummer Marion Booker, Jr.) performs his lengthy two-part "Freedom Suite," generating a great deal of heat. Lucky Thompson, mostly on soprano, jams on three standards with keyboardist Cedar Walton, bassist Sam Jones and drummer Louis Hayes. Thompson's hot playing (particularly on "Cherokee") makes this album worth searching for. ~Review by Scott Yanow

Friday The 13th

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Mari Koga - Perfect Blue

Size: 100,9 MB
Time: 43:39
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Afro-Latin Jazz
Art: Front

01. Invitation (5:24)
02. Azul (5:53)
03. Lluvia De Lagrimas (6:00)
04. You & I (4:45)
05. You Don't Know What Love Is (5:14)
06. I Got Rhythm (4:48)
07. The Moon On The Water (6:07)
08. Volver (5:24)

A Japanese born New Yorker, Mari Koga, has been singing professionally since her early 20’s. Early on, she won first prize at the 10th Annual Jetstream Young Vocalist contest. She was soon very much in demand as a young Jazz singer in Japan.

Mari moved to New York City to immerse herself in the New York jazz scene and started performing regularly at many popular venues in NYC. Eventually she reached the stages of New York’s prestige jazz clubs such as the Blue Note, Jazz at Kitano, Zinc Bar, etc. She also appeared as a re-imported singer at Tokyo’s top jazz venues such as Body & Soul and DUG.

Mari has also performed in commercial films with clients such as the American Plastic Council and Marriot Hotels.

In the summer of 2010, she formed the Afro-Latin influenced jazz band “Afronaughtica”, with her long time best friend and pianist, Chiemi Nakai as co-leader. The band debuted to a packed audience at the Creole as part of its Afro-Cuban jazz series in July 2010. They’ve also played at Zinc bar, Tutuma Social Club and many other music events. They had a successful tour performing in five major cities in Japan.

Afronaughtica was nominated as the Best Next Generation Artist and Mari was nominated as the Best Latin Jazz Vocalist at the Latin Corner, the popular website of the Latin Jazz fan community.

Mari also performed as a back up singer for salsa star, Jimmy Bosch’s “La Orquesta de Jimmy Bosch” and appeared at various clubs and jazz festivals, including SOB’s and Savanna Music festival, etc.

Audiences have been delighted by her unique repertoire, which includes original songs and unusual arrangements of jazz standards with a touch of Afro-Latin, and by her throaty horn-like improvisational scatting style.

Perfect Blue

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The New Orleans Swamp Donkeys Traditional Jass Band - Swamp Donkey

Size: 110,9 MB
Time: 47:31
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: New Orleans Jazz, Dixieland
Art: Front

01. Swamp Donkey (4:34)
02. Maple Leaf Rag (2:46)
03. Saint James Infirmary (6:43)
04. Buddy Bolden's Blues (4:01)
05. After You've Gone (3:47)
06. Charleston (3:20)
07. Careless Love (6:20)
08. Whispering (3:05)
09. Back Home Again In Arizona (2:47)
10. Royal Garden Blues (3:45)
11. B. D.'s (2:47)
12. Avalon (3:31)

The Swamp Donkeys are an extremely versatile group of young musicians who play traditional jass, blues, vaudeville, original music, modern jazz adaptations, and many other jazz and New Orleans-derived styles. They have beginnings and educations in the authentic, New Orleans, grassroots music scene, playing local festivals and second lines, then transitions into world-class music education programs, playing in concerts all over the globe. Their sound is enormously accessible with their frontmen, the Louis Armstrong-sounding, soulful and sweet James Williams, and the audience-wooing, banjo-strumming, song-writing extraordinaire Sam Friend. (Though James does plenty of audience-wooing himself!)

Swamp Donkey

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Trudy Kerr - Contemplation: The Best Of Trudy Kerr

Size: 162,5 MB
Time: 69:41
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Glad To Be Unhappy (Feat. Mulgrew Miller & Geoff Gascoyne) (4:57)
02. Tea For Two (Feat. Derek Nash, Geoff Gascoyne & Sebastiaan De Krom) (4:04)
03. Poppies (Feat. Tom Cawley, Geoff Gascoyne & Matt Home) (4:38)
04. They Say It's Wonderful (Feat. Jan Lundgren, Geoff Gascoyne & Steve Brown) (4:41)
05. Go Away Little Boy (Feat. Nick Weldon, Andy Hamill & Mark Fletcher) (5:01)
06. Moment's Notice (Feat. Tom Cawley, Sam Burgess, Steve Brown & Alan Skidmore) (5:43)
07. Seconds (Feat. Geoff Gascoyne, Graham Blevins, Jim Mullen & Seb De Krom) (4:26)
08. Sweet Surprisee (Feat. Phil Peskett, Andy Hamill & Mark Fletcher) (5:11)
09. Makin Whoopee (Feat. Dick Pearce, Geoff Gascoyne & Seb De Krom) (4:58)
10. My Foolish Heart (Feat. Phil Peskett, Andy Hamill & Mark Fletcher) (6:16)
11. Save Me (Feat. Tom Cawley, Geoff Gascoyne, Matt Home & Ashley Slater) (4:38)
12. Two Kites (Feat. Jan Lundgren, Geoff Gascoyne & Steve Brown) (5:03)
13. Ruby My Dear (Feat. Tom Cawley) (2:52)
14. Happy Talk (Feat. Tom Cawley, Geoff Gascoyne & Seb De Krom) (2:54)
15. In A Sentimental Mood (Feat. Michael Garrick & Paul Moylan) (4:12)

Subtitled The Best Of Trudy Kerr, Contemplation is a retrospective of the singer's career through selections from her ten album discography.

Contemplation takes in Kerr's career from Blossom Dearie's "Sweet Surprise"—a track from her debut album (Sweet Surprise, Jazzizit Records, 1997)—through to "Poppies," from The Rhythm of Life: Ted And Gladys (Jazzizit Records, 2013), credited jointly to Kerr and her husband and bassist Geoff Gascoyne.

Across these songs Kerr is acompanied by some of the finest musicians in the UK, including Gascoyne, drummers Sebastian De Krom and Matt Home and pianist Tom Cawley. Kerr draws on a wide range of writers, from the pop stylings of Bacharach and David ("Seconds") and Gerry Goffin and Carole King ("Go Away Little Boy") to Duke Ellington ("In A Sentimental Mood," with Michael Garrick on piano) and John Coltrane ("Moment's Notice," lyrics by Kerr).

The range of writers is matched by Kerr's breadth of approaches to performance. "Tea For Two" is an up-tempo, Anita O'Day-style take on the old standard with backing from Gascoyne, De Krom and baritone saxophonist Derek Nash. "Makin' Whoopee" is a sultry, slow burn, number featuring trumpeter Dick Pearce. Kerr's moving performance of "My Foolish Heart" tears at the heartstrings, while her take on Antonio Carlos Jobim's "Two Kites" mixes bossa nova groove with the romance of the Juno String Quartet. There are also a couple of Kerr/Gascoyne originals: "Poppies" and "Save Me." Both are gentle love songs, the latter given a bit of extra edge by Ashley Slater's trombone solo.

Two of the gentler performances stand out for the beauty of both Kerr's vocals and the musical accompaniment. She gives "Happy Talk" a much more reflective arrangement than it usually gets: no forced jollity, more an acknowledgement that life isn't always like you might wish. Cawley, Gascoyne and De Krom pick up on and heighten this feeling. For the Rogers and Hart classic "Glad To Be Unhappy" she's joined by the trio of Gascoyne, De Krom and guest pianist Mulgrew Miller. The pianist fits right in, as though he's been accompanying Kerr for years.

Compilation albums can often create debate and even dissent, mostly about what's not included—for example, there's nothing here from the excellent Reunion (Jazzizit, 2010), Kerr's album with fellow vocalist Ingrid James. Such an absence is an indication of the quality of Kerr's discography: there's much to celebrate about a compilation like Contemplation that doesn't have room for every song deserving of inclusion. ~Bruce Lindsay

Personnel: Trudy Kerr: vocals; Tom Cawley: piano; Geoff Gascoyne: bass; Steve Brown: drums; Sebastiaan De Krom: drums; Matt Home: drums; Dick Pearce: trumpet (9); Derek Nash: baritone saxophone (2); Ashley Slater: trombone (11); Jim Mullen: guitar (7); Mulgrew Miller: piano (1); Jan Lundgren: piano (4); Michael Garrick: piano (15); Juno String Quartet: strings (4, 12).

Contemplation

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Chris Gall - Piano Solo

Size: 136,1 MB
Time: 58:11
File: MP3 @ 320K/s
Released: 2015
Styles: Piano Jazz/Pop
Art: Front

01. My Waltz (3:01)
02. Yorke's Guitar (3:59)
03. Augmented (2:42)
04. Empty, Pale Blue Paper (7:13)
05. Straying (4:26)
06. Boedo, Cuarto Dia (2:04)
07. Rose (3:47)
08. The Story Of Mr & Mrs Ease (4:12)
09. The Little Sheperd (3:18)
10. Children's Daydream (2:28)
11. A Roundabout's Diary (3:16)
12. Moran (3:20)
13. Reminiscence (3:23)
14. Forro (5:01)
15. La Valse D'amelie (5:55)

Born in 1975 in Bad Aibling, Germany, Chris Gall is an up and coming pianist who has been gaining recognition in the international music scene. His playing crosses the borders of jazz and jumps into the vast field of contemporary world and pop music. After years of training as a classical pianist, he was awarded with several scholarships and studied at the renowned Berklee College of Music in Boston, USA. He finished his jazz studies there in 1998. Chris Gall was a permanent member of some promising international bands, including East Indian fusion band “Taalism” feat. Shakir Khan (sitar) and Kai Eckhardt (bass) or brazilian based “Giana Viscardi Group” with whom Chris Gall made his debut at the famous Montreux Jazz Festival. He has also performed with such important artists such as the New York Voices (Grammy Award Winner), Chico Cesar, Nils Landgren, Dusko Goykovic, and De-Phazz vocalist Karl Frierson etc. Chris Gall has released with his „Chris Gall Trio featuring Enik“ the two albums “Climbing Up” (2008) and follower „Hello Stranger“ (2010) on renowned jazz label ACT containing only original music. Since then he performed with his trio in great festivals such as Montreux Jazz Festival (2009), Stuttgarter Jazz Open (2010), Jazz Baltica (2011) and the Vienna Concert Hall (2012).

Piano Solo

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Kenny Burrell - Stormy Monday Blues

Bitrate: MP3@320K/s
Time: 69:21
Size: 158.8 MB
Styles: Guitar jazz
Year: 2001
Art: Front

[ 5:35] 1. Stormy Monday Blues
[ 6:55] 2. Azure Te (Paris Blues)
[ 5:42] 3. One For My Baby (And One More For The Road)
[ 5:57] 4. (I'm Afraid) The Masquerade Is Over
[ 1:54] 5. Why Did I Choose You
[ 9:44] 6. I Got It Bad (And That Ain't Good)
[ 7:38] 7. Three Thousand Miles Back Home
[10:13] 8. Kim-Den Strut
[ 8:17] 9. Habiba
[ 7:21] 10. Quiet Lady

Over the years Kenny Burrell has largely remained true to his roots. Ranked among the most revered jazz artists of his generation he’s waxed a wealth of sessions both as leader and sideman that approaches the countless. The two dates combined on this two-fer visit him in the lean years of the Seventies and suggest that even a bop disciple of Burrell’s relative purity was susceptible to encroaching trends and influences.

Stormy Monday, the first in the pair of records reissued herein, hearkens back to Burrell’s Blue Note days with only Heard’s amplified bass tipping off its later vintage. The crisp cerulean single note lines remain intact and Burrell’s emotive blues-based figures make routine forays around the melodic signposts of the standards on hand. Wyand’s sensitive comping and the light traps reinforcement of McBrowne (and Goldberg on a pair of cuts) completes the portrait of jazz men in their element spinning off riffs like smoke rings from a leisurely lit cigarette. There’s not much room for chance-taking in the arrangements, but the players seem at ease with cultivating a mood than testing the boundaries of their adopted repertoire. Burrell recognizes the date as an ensemble affair and as such his sidemen garner substantial solo space as well. Heard’s corpulent walking improvisation on “Azure Te” is but one instance where the leader’s faith is repaid. Burrell’s Ellington appreciation, which was to become even more pronounced in later recordings, is accorded space in the choice of a lengthy take on “I Got It Bad” as a closer.

As the companion date Sky Street is quite different both in terms of content and attitude. Trafficking in torpid grooves via Gilbert’s punchy bass lines and Marshall’s gentle syncopations the session is very much embroiled in fusion-tinged impulses. Burrell’s usually clean chords are dressed up in often largely submerged in Lightsey’s electric piano. Richardson, who was easily capable of injecting fervent emotion into his improvisations sounds in other settings sounds much of the time like he’s treating things as a by the numbers studio date. Despite these demerits on the jazz score card, the quintet still manages to rack up moments of musical intrigue as on the closing minutes of “Three Thousand Miles Back Home” where Richardson’s plaintive flute weaves with Burrell’s melancholy counterpoint. Lightsey’s opening on the Latin-flavored “Habiba” is likewise effective, but the piece eventually devolves into showy noodling on the part of the leader and overheated soprano excess on the part of Richardson. “Kim-Den Strut” attempts a balance between sections of contemplative reverie and fatback funk, but ultimately ends up crumpling under the collision of disparate elements. The two sessions together offer up Burrell both in his element and in the less flattering environs of more commercial fusion, but overall the music is strong enough to support recommendation. ~Derek Taylor

Kenny Burrell- guitar; Richard Wyands- piano; John Heard- bass; Lenny McBrowne- drums; Richie Goldberg- drums; Jerome Richardson- tenor & soprano saxophones, flute; Kirk Lightsey- acoustic & electric piano; Stanley Gilbert- acoustic & electric bass; Eddie Marshall- drums. Recorded: June 18-20, 1974 & January 29-30, 1975.

Stormy Monday Blues

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