Monday, February 23, 2015

Lou Donaldson - The Natural Sound

Bitrate: MP3@320K/s
Time: 48:49
Size: 111.7 MB
Styles: Soul jazz, Hard bop, Saxophone jazz
Year: 1962/2003
Art: Front

[ 9:04] 1. Funky Mama
[ 5:10] 2. Love Walked In
[ 5:35] 3. Spaceman Twist
[10:11] 4. Sow Belly Blues
[ 5:32] 5. That's All
[ 5:23] 6. Nice 'n Greasy
[ 7:50] 7. People Will Say We're In Love

The Natural Soul finds Lou Donaldson delving deeply into soul-jazz, recording a set of funky, greasy instrumentals with only a few references to hard bop. Donaldson occasionally sounds a little awkward with the relaxed groove of The Natural Soul, as does trumpeter Tommy Turrentine, but the trio of guitarist Grant Green, organist John Patton, and drummer Ben Dixon keep things cooking. Green and Patton's solos often burn and are always invigorating, and Lou frequently matches their heights. The original compositions -- which form the bulk of the album -- aren't much more than blues and soul vamps, but they provide an excellent foundation for the combo to work hot grooves. And, in the end, that's what The Natural Soul is about -- groove. It maintains the high standards Donaldson established with his first soul-jazz foray, Here 'Tis, and remains one of his best records in that genre. ~Stephen Thomas Erlewine

The Natural Sound

Shannon Whitworth & Barrett Smith - Bring It On Home

Bitrate: MP3@320K/s
Time: 44:40
Size: 102.3 MB
Styles: Vocal, Alternative folk, Jazz
Year: 2012
Art: Front

[3:33] 1. Bring It On Home To Me
[3:20] 2. Moonglow
[3:34] 3. You Can Close Your Eyes
[4:07] 4. Duncan
[2:58] 5. I Get Ideas (When We Are Dancing)
[3:24] 6. Louise
[2:51] 7. Sway
[3:45] 8. Bird On The Wire
[4:26] 9. Corcovado (Quiet Nights)
[3:44] 10. Green Grass
[4:56] 11. I'll Be Your Lover, Too
[3:58] 12. You Are My Sunshine

Like musical genre, the release of music has become progressively atomized in the past 25 years. Long gone is the ritual ministry of going to a record store to buy an album. Albums, those often painstakingly conceived collections of songs, are gasping their Chain-Stokes last breath at the hands of a generation used to downloading the newest single mp3 recorded in someone's basement using an iPad, the result posted on YouTube. No liner notes, no story, only an effete bunch of too-hip- for-their-own-good writers blogging that this is the new "thing" using the internet as the new word-of-mouth (read that propaganda machine) to decrease the signal-to-noise ratio to just noise.

But, there remains signs of life in the LP, the "album-length" media of the moment. Jazz and classical music may be the only thing between the album and oblivion. That and a good idea. Singers Shannon Whitworth and Barrett Smith, beneath the guise of the Shannon Whitworth Band, did some opening dates for the Tedeschi Trucks Band, revealing a beautifully tranquil and entertaining set of originals and covers readily appealing to those of a certain age (the late Baby Boom). The two touted a new recording they had just made, one devoted to their favorite songs. Now, that is a concept for an album and its title is Bring It On Home.

The single best description of the music Whitworth and Smith make is warm honey infused with opium: both pure and wholesome, while being a bit, how should we say, bohemian. At first blush, this music resembles that of Canada's Cowboy Junkies of the late 1980s, but without the dead seriousness. Relaxed and confident, Whitworth and Smith work their way across an almost 100-year landscape of music that is the crowning achievement of the song writer's craft. They so so with quiet percussion and carefully chosen accompaniment that makes this perfect listening music: appealing to both nostalgia and the appreciation of fine music making.

This disc opens with a spirited reading of Sam Cooke's "Bring It On Home To Me." Whitworth and Barrett have a certain empathy that works on several different levels. They harmonize well together, behind Barrett's "Mr. Postman" Fender Telecaster guitar playing, never too many notes only those necessary, well presented. Okay, that song was circa 1962. The pair jumps back 30 years to the Depression era popular song written by Irving Mills and Eddie DeLange. The song is perfection, until the pair jump ahead 40 years and perform James Taylor's "You Can Close Your Eyes" like it was their own with cellist Melissa Hyman providing that perfect American continuo undercurrent.

From James Taylor to Paul Simon and that composer's introspective "Duncan" from Paul Simon (Columbia Records, 1972). Barrett sings lead and Whitworth provides harmony vocals and a banjo, buoyed by Hyman's cello and Nicky Sander's violin, deriving from this American song all of its Americana. The recording's emotional center is found in the 1927 tango written by Argentinian Julio Cesar Sanders, "I Get Ideas (When We Are Dancing)." Whitworth pours the honey (yes, that same honey) on slow while strumming her ukulele and purring her way through the sexiest lyrics allowable in the Jazz Age.

The disc's apex is the humid and sensual "Corcovado (Quiet Nights)." Whitworth and Barrett divide the vocal duties, with Barrett singing Portuguese and tenor saxophonist Jacob Rodriguez reminding us why Stan Getz was so important. Bring It On Home is that hidden diamond that may be the best recording to cross this desk all year. ~C. Michael Bailey

Shannon Whitworth: vocals, guitar, ukelele; Barrett Smith: vocals, guitar; Mike Ashworth: bass, organ; Jeff Site: drums; Michael Libramento: guitars, piano; Justin Ray: trumpet; Melissa Hyman: cello; Nicky Sanders: violin; Jacob Rodriguez: tenor saxophone; Nate Leath: violin.

Bring It On Home

Miles Davis - Take Off: The Complete Blue Note Albums (2-Disc Set)

The 2014 double-disc anthology Take Off: The Complete Blue Note Albums compiles tracks jazz trumpeter Miles Davis recorded for Blue Note Records during the '50s. These are recordings made after Davis left Prestige, but not including the 1949-1950 sessions later released as the classic 1957 album Birth of the Cool. Here, instead, we get recordings that were initially released as 10" LPs titled Young Man with a Horn, Miles Davis, Vol. 2, and Miles Davis, Vol. 3. Also included are all of the alternate takes that accompanied the original releases. Backing Davis on these sessions is a veritable who's who of future jazz hall of famers, including drummer Art Blakey, pianist Horace Silver, saxophonist Jackie McLean, and others.

These recordings were made during a comparatively fallow period in Davis' career, just as he was emerging from his initial bout with heroin addiction. Here, cuts like the sanguine "Yesterdays" and the poignant "It Never Entered My Mind" reveal a darker, if no less melodic, version of the trumpeter who had previously paid his dues, chasing the shadow of Dizzy Gillespie in Charlie Parker's quintet. In fact, Davis tackles several Gillespie-associated compositions here, including "Woody 'N You" and "Ray's Idea," delivering them in his own understated, if no less bravura, style. This is the beginning of Davis the minimalist, eschewing flowery asides for straightforward, unadorned melodic line readings and improvisations played in a vibrato-free eighth-note style. In that sense, these cuts prefigure the more aggressive hard bop and harmonically challenging post-bop of the '60s; styles that Davis later helped to innovate with his "first great quintet." Ultimately, the tracks on Take Off: The Complete Blue Note Albums point the way toward Davis' landmark Columbia albums that transformed him from one of the best jazz trumpeters on the N.Y.C. scene into an international superstar. ~Matt Collar

Album: Take Off: The Complete Blue Note Albums (Disc 1)
Bitrate: MP3@320K/s
Time: 43:12
Size: 98.9 MB
Styles: Hard bop, Trumpet jazz
Year: 2014

[4:10] 1. Dear Old Stockholm
[3:01] 2. Chance It
[3:42] 3. Yesterdays
[3:11] 4. Donna
[3:22] 5. Would'n You
[4:38] 6. How Deep Is The Ocean
[3:15] 7. Kelo
[3:20] 8. Enigma
[3:41] 9. Ray's Idea
[3:48] 10. Tempus Fugit
[3:31] 11. C.T.A
[3:27] 12. I Waited For You

Take Off: The Complete Blue Note Albums (Disc 1)

Album: Take Off: The Completeblue Note Albums (Disc 2)
Bitrate: MP3@320K/s
Time: 53:26
Size: 122.3 MB
Styles: Hard bop, Trumpet jazz
Year: 2014
Art: Front

[3:37] 1. Take Off
[4:01] 2. Lazy Susan
[4:29] 3. The Leap
[5:21] 4. Well You Needn't
[4:41] 5. Weirdo
[4:01] 6. It Never Entered My Mind
[2:52] 7. Chance It (Alternate Take)
[3:08] 8. Donna (Alternate Take)
[3:21] 9. Woody'n You (Alternate Take)
[3:26] 10. Kelo (Alternate Take)
[3:24] 11. Enigma (Alternate Take)
[3:48] 12. Ray's Idea (Alternate Take)
[3:55] 13. Tempus Fugit (Alternate Take)
[3:15] 14. C.T.A. (Alternate Take)

Take Off: The Completeblue Note Albums (Disc 2)

Roberto Menescal - Eu E Cris (with Cris Delanno)

Bitrate: MP3@320K/s
Time: 41:21
Size: 94.7 MB
Styles: Latin jazz
Year: 2013
Art: Front

[2:08] 1. 's Wonderful
[3:42] 2. Retrato Em Branco E Preto
[4:05] 3. Eu E A Musica-Tá Oquei
[4:08] 4. Outra Vez
[3:58] 5. Roxanne
[3:17] 6. Sabe Você
[3:51] 7. Estate
[4:35] 8. Abraço Vazio
[4:11] 9. Body And Soul
[2:09] 10. Saudade Fez Um Samba
[5:11] 11. Corazon Partio

“EU E CRIS” estreou em novembro de 2003, no Rio de Janeiro, com o patrocínio da Unimed-Rio com enorme sucesso de público e mídia. Desde então, Menescal e Cris vêm encantando a platéia de todo o Brasil e o mundo.

O repertório de Eu e Cris inclui bossa-nova, rock, blues, pop e jazz, destacando “Eu e a Música (TÁOQUEI)” que Roberto Menescal e Aldir Blanc compuseram há dez anos, especialmente para Cris Delanno no primeiro show solo da cantora. Canções de Tom Jobim, Carlinhos Lyra, Chico Buarque, Isolda, Vinícius de Moraes se misturam às de Sting, George Gershwin, Alejandro Sanz, Bruno Martino.

Eu E Cris

Jess Abrams - Cat Stevens Reconstructed

Bitrate: MP3@320K/s
Time: 36:14
Size: 83.0 MB
Styles: Contemporary folk-jazz
Year: 2013
Art: Front

[4:17] 1. Father And Son
[5:39] 2. Wild World
[3:26] 3. Sitting
[5:41] 4. How Can I Tell You
[4:50] 5. Where Do The Children Play
[4:49] 6. Popstar
[4:37] 7. If I Laugh
[2:52] 8. The Wind

Wild World, Father and Son, How Can I Tell You, The Wind and more… The works of Cat Stevens reinterpreted by New York vocalist Jess Abrams. 'Abrams finds her own meaning in each lyric and makes it her own' (Jazz UK). 'Invites you in and makes you feel so good you won't want to leave… A stone delight' (Jazzwise Magazine). Jess, accompanied by piano and bass, will surprise and enchant you with unique interpretations of the songs of one of the most beloved songwriters of the 1970s. Join us, it's a wild world…

Cat Stevens Reconstructed

Clark Terry - Live at the Village Gate

Styles: Bop, Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 60:33
Size: 139,0 MB
Art: Front

( 6:00)  1. Top & Bottom
( 6:16)  2. Keep, Keep, Keep On Keepin' On
( 9:00)  3. Silly Samba
( 8:41)  4. Pint of Bitters
( 6:41)  5. Sheba
( 3:31)  6. Brushes & Brass
( 9:16)  7. Simple Waltz
(11:04)  8. Hey Mr. Mumbles

Flugelhornist Clark Terry, three weeks shy of his 70th birthday at the time of this live performance, sounds very much at the peak of his powers throughout Live at the Village Gate. Teamed up with old friend Jimmy Heath, who doubles on tenor and soprano, pianist Don Friedman, bassist Marcus McLauren and drummer Kenny Washington (altoist Paquito D'Rivera guests on "Silly Samba"), Terry performs eight little-known originals. The tunes are all fairly basic, but they inspire these talented musicians to some of their best playing. The hard-swinging music, which includes a trumpet-drums duet on "Brushes & Brass" and some singing from the audience on "Hey Mr. Mumbles," is quite enjoyable, and among the most accessible type of jazz. ~ Scott Yanow  http://www.allmusic.com/album/live-at-the-village-gate-mw0000269023

Personnel: Clark Terry (trumpet, flugelhorn); Jimmy Heath (soprano saxophone, tenor saxophone); Paquito d'Rivera (alto saxophone); Don Friedman (piano); Kenny Washington (drums).

R.I.P
December 14, 1920/February 21, 2015

Jacqui Naylor - You Don't Know Jacq

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 62:13
Size: 142,9 MB
Art: Front

(3:26)  1. How Deep Is Your Love
(3:29)  2. This Is the Spot
(4:40)  3. Something Cool
(3:03)  4. Shelter
(2:44)  5. Rise Up
(3:00)  6. My Funny Valentine
(5:15)  7. Ain't No Sunshine
(2:49)  8. City By the Bay
(3:20)  9. Summertime
(3:23) 10. Celebrate Early and Often
(5:01) 11. Losing My Religion
(5:36) 12. Black Coffee
(3:34) 13. Dreamin' Big With You
(3:21) 14. Thank You Baby
(5:37) 15. Tell Me More and More and Then Some
(3:47) 16. Miss You

You Don't Know Jacq is all about Jacqui Naylor, exemplifying her vocal range, warm voice, interpretive qualities and style "Acoustic Smashing," which, in essence, means jazz standards done along rock/pop rhythm lines, or vice versa. The disc features new arrangements of the most requested songs from her previous six albums, as well as new material including the first single, "Celebrate Early and Often," now being used for many a wedding across the United States. You Don't Know Jacq is a fulfilling experience, showcasing Naylor's vocal ability and her talent for telling a story. No matter what musical context she puts herself in jazz, pop or rock she will turn it into a captivating narrative. She does so over a selection of songs from various musical styles. Naylor's specialty is tying the knot between clashing worlds of music, and she makes it work so wonderfully, giving new meaning to the tunes she interprets. Opening with the Bee Gees' "How Deep Is Your Love," Naylor makes it work with her unique and unusual phrasing. 

Never falling into the apparent traps of interpreting one of pop's most well-known and often-covered songs, she alters the feel, turning it into a true jazz song. She then takes a Doors-like approach to the Gershwin classic "Summertime," with Hammond organ a vital part of the accompaniment and a number of musical riffs familiar to Doors fans. Again, she makes it work; not as a tender/mellow piece but as a powerful and hot song running on overdrive. R.E.M.'s beautifully lyrical "Losing My religion" is delivered with unique phrasing and a slow Latin rhythm, the violins making it even more romantic and Naylor's R&B phrasing adding to the dramatic tension. "Black Coffee" features a new fusion bass line until the bridge, where Naylor brings the tune back to mainstream jazz. 

Sometimes a ballad with just piano accompaniment is enough, and here Naylor's voice is so rich, her phrasing is so enticing, that the song becomes both refreshing and relaxing. The most surprising arrangement is "My Funny Valentine," with a rubato gypsy violin intro fading into a smashing AC/DC rhythm section, reminiscent of a chase/thriller movie. "Ain't No Sunshine" is another standout, filled with positive energy. Naylor turns what most interpret as a torch song into a perfect and powerful song of hope. ~ Guy Zinger  http://www.allaboutjazz.com/you-dont-know-jacq-jacqui-naylor-ruby-star-records-review-by-guy-zinger.php
 
Personnel: Jacqui Naylor: vocals; Art Khu: acoustic guitar, electric guitar, piano, organ, background vocals; Michael Romanowski: acoustic guitar, recorder; Yoon Ki Chai: violin; Jon Evans: bass; Josh Jones: drums, percussion.

Hampton Hawes - For Real !

Styles: Hard Bop, Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 45:43
Size: 104,9 MB
Art: Front

( 6:14)  1. Hip
( 9:20)  2. Wrap Your Troubles In Dreams
( 6:44)  3. Crazeology
( 8:04)  4. Numbers Game
(11:20)  5. For Real
( 3:58)  6. I Love You

Although For Real! was at least Hampton Hawes' 11th record as a leader, it was his first (and one of his relatively few) that included a horn player. The pianist matches quite well with the hard bop tenor of Harold Land (heard in his early prime), and the quartet outing, which also includes drummer Frank Butler, has an extra bonus in the playing of the brilliant bassist Scott LaFaro. Performing three bop standards (including "Crazeology") and three originals (two of which were co-written by Land), pianist Hawes sounds inspired by the other players and is in top form throughout the generally memorable outing. 
~ Scott Yanow  http://www.allmusic.com/album/for-real!-mw0000201517

Personnel: Hampton Hawes (piano, keyboards); Harold Land (tenor saxophone); Frank Butler (drums); Scott LaFaro (bass).

Sunday, February 22, 2015

Nils Pollheide - Count On Me

Size: 135,0 MB
Time: 58:15
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz: Hammond Organ, Guitar Jazz
Art: Front

01. Mr. Goldo (5:22)
02. Four On Six (6:51)
03. Gut Gelaunt (7:38)
04. Sunday (5:50)
05. Sleven (6:13)
06. Your Sweet Love (2:53)
07. Hanging With M (6:26)
08. Count On Me (8:13)
09. Shorty (6:29)
10. Outro (2:15)

It seems to become a real organ-guitar renaissance. The latest sign is the Larry Coryell Organ Trio with Sam Yahel on the Hammond B3 organ and Paul Wertico, drums. And this 74 years after Laurens Hammond invented the Hammond B3 organ in Chicago.

Also in Germany something is happening. Guitar player Nils Pollheide of Osnabrück released a new CD with Dirk Schaadt an the Hammond B3 and Etienne Nillesen on the drums. His piece of silver "Count On Me" makes people take notice.

The group presents modern jazz with an extraordinary sound. With swinging, rhythmical, tricky but melodious compositions the Nils Pollheide Trio shoots up the sound of the Hammond trios of the 60s into the present. Its debute album "Count On Me" is built on various styles. First the musicians show by whom they have been influenced. In Dirk Schaadt´s composition "Mr. Goldo" you recognize Larry Goldings, his arrangement of Wes Montgomery´s "Four On Six" is a special reference of Pollheide for the doyen, in "Gut gelaunt" you hear the groove tradition of the Hammond trios in the 60s.
Then the album is getting more and more modern. Pollheide´s compositions show a wide range - from the peaceful ballad and the acoustic solo to an experimental loop orgy.

The concept works, as even Michael Sagmeister, Germany´s most renowned jazz guitarist said with the words: "A good album of a highly talented guitar player".

Count On Me

Janet Planet - Love Letters From Cary Bluff: The Music Of Chris Swansen

Size: 143,7 MB
Time: 61:44
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz Vocals, Crossover Jazz
Art: Front

01. Baby, You And Me (2:46)
02. Bottom Line (4:34)
03. Crazy Horse (5:06)
04. Elis (8:02)
05. Enfield Surge (5:31)
06. Get Away Blue (5:24)
07. Look Alive (3:27)
08. Love Beyond Time (4:34)
09. Maybe You Will Hear Me (4:04)
10. Moondog, Can You Hear Me (5:41)
11. Once You Know She's Gone (5:11)
12. Take That (3:23)
13. Yellow Soled (3:54)

Jazz musician Chris Swansen, innovator, composer, genius, helped to develop early use of MOOG Synthesizers in jazz music. Grammy nominated composer featured with jazz saxophonist Phil Woods. This a collection of songs written specifically for jazz singer Janet Planet and features inventive arrangements and performances by a host of top jazz musicians. "Voice of the new jazz culture amazingly powerful with seemingly limitless expression" Jazziz Magazine "Planet defies expectation, anything she graces with her vocal chords benefits" Cadence Magazine.

Featured artists: Janet Planet (vocal), Nancy King (vocal), Steve Christofferson (piano), Matt Turner (cello/piano), Ike Sturm (bass), Ziv Ravitz (drums), Lee Tomboulian (piano), Tom Washatka (saxophones), Woody Mankowski (saxophones), Marc Jimos (saxophones) Brian Lydeen (saxophone) Matt Blanchard (saxophone), Dave Graf (trombone), Cully Swansen (bass), Mark Urness (bass), Dane Richeson (drums), Danny Lueck (drums), John Gibson (bass), Ryan Ferreira (guitar), Kelvin Kasper (guitar), Gene Bertoncini (guitar), Tom Theabo (guitar) Jason Kruk (drums), Marty Robinson (trumpet). A labor of love to a genius.

Love Letters From Cary Bluff

Seamus Blake Quartet - Live In Italy

Size: 123,1+125,4 MB
Time: 53:29+54:25
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz: Modern Jazz
Art: Front

CD 1:
01. The Jupiter Line (11:59)
02. Way Out Of Willy (10:52)
03. String Quartet In G Minor (17:10)
04. Fear Of Roaming (13:26)

CD 2:
01. The Feeling Of Jazz (11:26)
02. Spacing (10:23)
03. Ladeirinha ( 8:10)
04. Darn That Dream (13:02)
05. Dance Me Home (11:22)

Back in 2002, Seamus Blake established himself firmly as tenor player of interest with a first place finish in the prestigious Thelonious Monk International Jazz Saxophone Competition. Since then, his rapidly growing discography, as well as collaborations with artists like John Scofield, suggests that the attention is well-deserved.

Even still, Blake's first live release represents a major step forward for the saxophonist. This two-disc set, culled from several shows in Italy, finds him cutting loose with a quartet that sounds as good as any working the music today. Featuring the superb rhythm section of pianist David Kikoski
, bassist Danton Boller and drummer Rodney Green, Blake's tenor clicks like a lock into multiple sets of diverse and exciting tunes.

The four originals, including Blake's "The Jupiter Line" and "Fear of Roaming," offer great melodies and solo work, while the standards offer opportunities for sensitive reinvention. "Darn That Dream" opens with a lush, unaccompanied tenor statement that suggests the influence of Sonny Rollins
and Michael Brecker. The group then launches into a rendition filled with romance and originality, and doesn't have to overreach for either.

The same sensitivity can be found in an arrangement of Debussy's "String Quartet in G Minor." This redesigned piece features light, dynamic playing from the rhythm section, while Blake reaches his altissimo with a sweetly classical intonation. Another virtuoso display of explosive melody from the piano crescendos into sax work that's all fire, before giving way to a gorgeous, minimalist bass solo.

Blake demonstrates a wonderful ear for melody throughout. His solos are always developing, and the results are frequently as fun and catchy as any head. And while his agility and command will certainly inspire some awe, he plays with soul—never losing sight of the larger musical picture in a flurry of technical push-ups.

His upbeat "Way Out of Willy" grooves along on a tight funk groove from the drums and piano. For his solo, Blake uses wah-wah and other effects to turn himself into a horn-guitar hybrid. Few musicians can pull this kind of thing off without descending into gimmickry, but Blake's raw virtuosity and artful sense of tone-play keep things cooking. Kikoski, who consistently matches the leader with ecstatic keyboard work and an incredible rhythmic vocabulary, rises to the challenge of the electric sax with a statement full of acoustic funk. Starting out simply, he alternates dizzying runs with intricate, foot-stamping beats that build to a fevered intensity, before Blake returns to cool things down.

This is a quartet that makes every tune sound easy, and it sounds even better thanks to a superb recording job. As exhilarating as a shot of espresso, this album should rank among the best of 2009. Even more exciting will be seeing what comes next for Blake and his quartet, wherever they play. ~Warren Allen

Personnel: Seamus Blake: tenor saxophone; David Kikoski: piano; Rodney Green: drums; Danton Boller: double-bass.

Live In Italy CD 1
Live In Italy CD 2

Birgitte Soojin - Hi-Lo

Size: 100,9 MB
Time: 41:04
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz Vocals
Art: Front

01. You Turned The Tables On Me (3:35)
02. Come Sunday (5:37)
03. Hi-Lili, Hi-Lo (3:49)
04. When Your Lover Has Gone (3:57)
05. Nobody's Fault But Mine (4:23)
06. Street Of Dreams (4:26)
07. Just Squeeze Med (4:11)
08. Darn That Dream (4:42)
09. Born To Be Blue (6:21)

Birgitte Soojin is a Korean-born, Norwegian-raised jazz vocalist, who currently lives in Denmark. Her debut album, ‘Hi-Lo’, is an elegant, assured reworking of American songbook standards, from the Thirties to the Fifties.

Her voice, sultry, expressive, with great technical agility, is perfect for these songs, into which she breathes fresh life - aided by a fine band that includes : Jakob Dinesen on tenor sax, Ben Besiakov on piano and Mads Hyhne on trombone.

The album was produced by Birgitte with Jacob Dinesen, and was nominated for a Danish Music Award.

Hi-Lo

Jorge Moniz - Inquieta Luz

Size: 124,4 MB
Time: 53:34
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Contemporary Jazz, Jazz Folk
Art: Front

01. Interruptor (3:35)
02. Neblina (8:16)
03. O Desvio (4:51)
04. Aurora Tem Um Menino (6:47)
05. Infusao (5:35)
06. A Dança Dos Veus (4:12)
07. Porque Nao Me Ves (6:53)
08. Chula Quebrada (5:52)
09. Vejle (7:30)

Inquieta Luz (Restless Light), by a band fronted by Portuguese drummer Jorge Moniz, explodes like a firework in all directions.

The opener, "Interruptor," is electronic and discordant, having the same sort of effect on the listener's sensibilities as fingers scraping down a blackboard.

After this—mercifully—things get very much better. The second track, "Neblina," is fusion à la In A Silent Way, featuring lilting, meditative piano from Luis Figueiredo and soaring guitar by Mario Delgado.

With "O Desvio (The Deviation)," there are echoes from the early days of rock 'n' roll and guitar heroes like Link Wray and Bill Justis. Delgado lays down a simple but catchy hook over a rocking beat supplied by the leader and Figueiredo comes on like a latter day Bill Doggett on organ. Yeah, man!

But the twang ain't the thang for long. It's on to the standout track, "Aurora Tem Um Menino (Aurora Has A Little Child)," a gentle folk song from the Alentejo region of southern Portugal, which features a beautiful, haunting vocal by Joana Espadhina and sees Delgado digging into his Iberian roots for a quite magnificent solo.

The song is from the "Cante Alentejano" repertoire, which has been declared an "intangible cultural heritage" by UNESCO.

"Infusao (Infusion)" is funky, almost danceable, with dark, sometimes almost sinister overtones. Like The Monster From The Black Lagoon meets (and attempts to devour) Ponyo.

"Porque Nao Me Ves (Why Not See Me?) is by Fausto, an important Portuguese singer/composer. It sounds on occasion like a hopped-up "Dancing Cheek To Cheek."

"Chula Quebrada (Broken Chula)" is based on the northern Portuguese musical form, Chula. It all goes a bit haywire towards close of play, but Moniz manfully instills order and takes his troops out to a marching beat.

While it goes off the rails now and again, Inquieta Luz is an interesting musical concoction and well worth a listen. ~Chris Mosey

Personnel: Jorge Moniz: drums; Luis Figueiredo: piano; Mario Delgado: guitar; Joao Custodio: bass; Joana Espadinha, Paulo Ribeiro: vocals.

Inquieta Luz

Charles Power - Imagination

Size: 137,0 MB
Time: 58:22
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Big Band, Swing
Art: Front

01. Imagination (3:05)
02. Almost Like Beimg In Love (1:37)
03. Brazil (3:13)
04. Fly Me To The Moon (2:28)
05. I Could Have Danced All Night (2:39)
06. I Love Paris (1:51)
07. In The Still Of The Night (3:26)
08. Just In Time (2:29)
09. Let's Face The Music And Dance (3:04)
10. Need You Now (4:28)
11. New York, New York (3:23)
12. Night And Day (3:52)
13. Send In The Clowns (3:41)
14. Summer Wind (2:39)
15. The Girl From Ipanema (3:23)
16. The Way You Look Tonight (3:21)
17. You And Me (4:09)
18. You Are The Sunshine Of My Life (2:31)
19. You're Gonna Hear From Me (2:57)

Change is inevitable. I saw the perfect example of impermanence at Sinatra's former home located on Bowmont Avenue in Beverly Hills. Despite the fact that the house is no longer owned by the Sinatra family, it sits regally poised atop a hill that is separated by a ravine from the Sultan of Bernais' palatial mansion. On the opposite side of the home is Sinatra's orange-hued bedroom with a panoramic view of Mulholland Drive in the distance. The home, which still echoes with parties that long ago ended, now stands silent and empty, unsure of its destiny. Vandals and souvenir hunters have grabbed what they could. Below the main house is the kidney-shaped swimming pool, a studio screening room in ruins and a sauna. Wallpaper with some of the Summit's favorite sayings still clings desperately to the bathroom walls next to the sauna. One can almost hear Sammy, Dean's and Frank's voices laughing and whispering about their latest conquests. That was another time. The Summit has since moved on to another playground.

Change may very well be inevitable, but that Power stays to sing. Sinatra may have moved on to a different watering hole, but Charles Power is timeless. The same Power that once manifested through Sinatra is now manifesting through Charles Power. He is not simply with the times. He is the times. Charles Power defies fad. He stays. He has known more and felt more about what a song really is. He is both the poet and the musician merged into one being. You cannot sing the way he does until you've been knocked around by Reality a few times. That is why Charles Power is such a gifted and intuitive performer. He has touched the dark depths of Reality and emerged a golden being. That is what makes Charles Power last, and improve. He leans into the front end of a song and starts singing all the way to "The End." There is no choppy phrasing along the way. The Voice emerges like the hum of a finely tuned Mercedes. Charles Power understands the game and plays it like the Master.

Whether he is standing in the middle of Sinatra's abandoned living room singing "It Was Just One Of Those Things" to the resident entities or playing to an audience of thousands in the middle of Madison Square Garden, Charles Power carries on from where Sinatra left off.

When Charles Power sings to you, he doesn't look at you. He looks about five inches behind your eyes. His eyes are slightly closed, closer to where the truth lives. If you must choose only one word to describe this phenomenon, then choose a word with five easy letters: TRUTH. The fact is that no singer comes as close. And that makes no one else quite as good.

Imagination

Sir Roland Hanna - This Must Be Love (Feat. George Mraz & Ben Riley)

Size: 136,6 MB
Time: 58:36
File: MP3 @ 320K/s
Released: 1978/2015
Styles: Jazz: Hard Bop, Piano Jazz
Art: Front

01. Orange Funk (4:39)
02. This Can't Be Love (4:04)
03. It's A Small World (4:28)
04. The Interloper (4:45)
05. It Never Entered My Mind (3:23)
06. Thou Swell (4:46)
07. I Didn't Know What Time It Was (5:30)
08. Dancing On The Ceiling (4:06)
09. My Romance (5:13)
10. This Can't Be Love (Alt. Take 1) (3:05)
11. It's A Small World (Alt. Take 1) (4:12)
12. Dancing On The Ceiling (Alt. Take 3) (4:18)
13. My Romance (Alt. Take 1) (6:01)

Originally recorded for Progressive and reissued by the Audiophile label, this set matches the talented pianist Sir Roland Hanna with bassist George Mraz and drummer Ben Riley. Together they perform six Rodgers and Hart songs (including "This Can't Be Love," "Thou Swell" and "Dancing On the Ceiling"), along with three of Hanna's originals. The musicians are heard throughout in top form, often speaking in a single voice. Excellent modern mainstream music. ~Review by Scott Yanow

This Must Be Love

Richard Navarro - Let Go Light

Size: 77,2 MB
Time: 33:25
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Folk
Art: Front

01. Where I End You Begin (2:38)
02. Carry (4:04)
03. Seabirds (2:54)
04. Mulberry And Rye (3:31)
05. Roundabout (3:10)
06. Salt And Light (4:03)
07. Cloud Lemonade (3:39)
08. Sweet Nothings (3:15)
09. Heaven Sees (2:56)
10. Sorry (3:10)

Evocative and uplifting, the music of Richard Navarro takes the folk traditions of melody and storytelling and supercharges them through live looping and improvisation.

On 14th February 2015 the singer and multi-instrumentalist will release his LP ‘Let Go Light’ to coincide with a headline tour of small theatre venues in the UK. The songs – mostly co-written with his double bassist Nicholas Thurston – combine lyricism and sharp social commentary with lush violins, infectious bass lines and a sprinkling of percussion.

Recorded and produced at home by Richard himself in a tiny attic bedroom, before being impeccably mixed by Al Green, the album’s first release, ‘Seabirds’, has caught the attention of BBC6’s James Robins, who describes it as ‘wondrously catchy’, combining ‘elements of folk and jazz with a sprinkling of magic to create an off-kilter mix of gorgeous weirdness.’

Let Go Light

Lee Konitz - Trouble In Mind

Bitrate: MP3@320K/s
Time: 78:38
Size: 180.0 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[3:55] 1. My Melancholy Baby
[4:45] 2. There Will Never Be Another You
[6:18] 3. You Go To My Head
[2:16] 4. Sweet And Lovely
[7:17] 5. Don't Squawk
[3:06] 6. Ronnie's Line
[8:41] 7. Pennies In Minor
[5:32] 8. Two Not One
[3:42] 9. Straightaway
[3:40] 10. Easy Living
[5:46] 11. Background Music
[3:20] 12. Midway
[5:24] 13. Topsy
[4:40] 14. Foolin' Myself
[3:55] 15. I Can't Get Started
[6:14] 16. Donna Lee

One of the most individual of all altoists (and one of the few in the 1950s who did not sound like a cousin of Charlie Parker), the cool-toned Lee Konitz has always had a strong musical curiosity that has led him to consistently take chances and stretch himself, usually quite successfully. Early on he studied clarinet, switched to alto, and played with Jerry Wald. Konitz gained some attention for his solos with Claude Thornhill & His Orchestra (1947). He began studying with Lennie Tristano, who had a big influence on his conception and approach to improvising. Konitz was with Miles Davis' Birth of the Cool Nonet during their one gig and their Capitol recordings (1948-1950) and recorded with Lennie Tristano's innovative sextet (1949), including the first two free improvisations ever documented. Konitz blended very well with Warne Marsh's tenor (their unisons on "Wow" are miraculous) and would have several reunions with both Tristano and Marsh through the years, but he was also interested in finding his own way; by the early '50s he started breaking away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit in surprisingly well with Stan Kenton & His Orchestra (1952-1954), being featured on many charts by Bill Holman and Bill Russo.

Konitz was primarily a leader from that point on. He almost retired from music in the early '60s but re-emerged a few years later. His recordings have ranged from cool bop to thoughtful free improvisations, and his Milestone set of Duets (1967) is a classic. In the late '70s Konitz led a notable nonet and in 1992 he won the prestigious Jazzpar Prize. He kept a busy release schedule throughout the '90s and dabbled in the world of classical music with 2000's French Impressionist Music from the Turn of the Twentieth Century. The Mark Masters Ensemble joined him for 2004's One Day with Lee, and in 2007 he recorded Portology with the Ohad Talmor Big Band. He has recorded on soprano and tenor but has mostly stuck to his distinctive alto. Konitz has led consistently stimulating sessions for many labels, including Prestige, Dragon, Pacific Jazz, Vogue, Storyville, Atlantic, Verve, Wave, Milestone, MPS, Polydor, Bellaphon, SteepleChase, Sonet, Groove Merchant, Roulette, Progressive, Choice, IAI, Chiaroscuro, Circle, Black Lion, Soul Note, Storyville, Evidence, and Philogy. In 2011, he released his own trio album Knowinglee and appeared on the live ECM date Live at Birdland (recorded in 2009) with pianist Brad Mehldau, bassist Charlie Haden, and drummer Paul Motian. ~ bio by Scott Yanow

Trouble In Mind

Hot Club De Norvege - Gloomy

Bitrate: MP3@320K/s
Time: 34:14
Size: 78.4 MB
Styles: Gypsy jazz
Year: 1984/2008
Art: Front

[3:45] 1. Monsieur Camembert
[4:31] 2. Diminishing Blackness
[2:49] 3. Micro
[2:46] 4. Gloomy Sunday
[4:24] 5. Troublant Bolero
[4:03] 6. It Don't Mean A Thing
[2:47] 7. Oriental Shuffle
[2:39] 8. I'll See You In My Dreams
[4:42] 9. Nature Boy
[1:43] 10. Spurven (The Hot Canary)

Showing a slightly darker mood of Hot Club de Norvège, this record gave the band a commercial breakthrough in France - the home of String Swing. Featuring violinist Ivar Brodahl - considered one of Europe's finest instrumentalists of the tradition.

Gloomy

The Jazz Professors - Do That Again

Bitrate: MP3@320K/s
Time: 61:24
Size: 140.6 MB
Styles: Straight ahead jazz
Year: 2013
Art: Front

[4:58] 1. I Remember You
[4:53] 2. Where Or When
[5:30] 3. (The Home Of) Happy Feet
[6:04] 4. What'll I Do
[5:56] 5. Do That Again
[5:21] 6. Hey, Lock
[5:02] 7. Cristo Redentor
[6:36] 8. The New Creole Love Call
[5:46] 9. El Vuelo
[5:30] 10. You're Blasé
[5:44] 11. Two Bats

The Jazz Professors aren't wearing any hats they don't own; the fact is, they really are Professors in the Jazz Studies program at the University of Central Florida in Orlando. Instead of letting the students have all the fun, however, the Professors have recorded three albums of their own, the second Live from UCF-Orlando Jazz Festival, the third and most recent Do That Again, this one in a studio. Lest anyone assume these are "vanity" enterprises, it should be noted that in their "spare time" these mentors have performed and recorded with a wide variety of celebrated jazz artists, from Mel Torme, Maynard Ferguson and Benny Carter to Bob Mintzer, Paquito D'Rivera, Dave Liebman, Tom Harrell, Bill Evans, Stan Getz, Zoot Sims, Rob McConnell, Louie Bellson, Clark Terry, Bob Brookmeyer and Diane Schuur. In other words, their classroom instruction ranges well beyond "do as I say" to "do as I do."

Speaking of Getz and Sims, tenor saxophonist Jeff Rupert immediately pays homage to their overriding influence on "You and the Night and the Music," a sunny standard that opens the concert in Orlando and to which guitarist Bobby Koelble and pianist Per Danielsson append radiant solos. Danielsson's piano ushers in the handsome ballad "But Beautiful," after which the group welcomes guest tenor Grant Stewart for some sharp and persuasive exchanges on Burton Lane / Yip Harburg's "Old Devil Moon." Koelble and Danielsson dazzle here, as they do again on Antonio Carlos Jobim's "No More Blues," which rings down the curtain. Jimmy Rowles' "The Peacocks," which precedes "No More Blues," is a placid showcase for Rupert's warm tenor. Save for its forty-five minute playing time, a superlative concert session by five well-schooled Professors whose musical knowledge is by no means limited to the classroom.

Perhaps reckoning that one concert alone wouldn't be enough to validate their credentials, the Professors decided to Do That Again, with pretty much the same results. Rupert shines once more as a Getz / Sims surrogate, the rhythm section is sturdy, and guitarist Koelble and trombonist Michael Wilkinson add their impressive voices along the way (Koelble on three numbers, Wilkinson on two). The play list consists of four standards and seven originals including Rupert's "(The Home of) Happy Feet," "Do That Again," "The New Creole Love Call" and "Two Bats." Drummer Marty Morell wrote the rhythmically engaging "El Vuelo," Eddie "Lockjaw" Davis "Hey Lock," Duke Pearson "Cristo Redentor." The standards are Rodgers and Hart's "Where or When," Irving Berlin's "What'll I Do," Ord Hamilton's too-seldom-heard "You're Blasé" and last but not least, Johnny Mercer's "I Remember You," presented here as a breezy samba. "Cristor Redento" is basically a showpiece for a four-member chorale backed by the core group and trumpeter John Almeida.

Recorded sound is exemplary, as is the over-all performance, while playing time is a respectable one hour. When not in the classroom, these Professors show that experience is one of the best teachers, guiding by example as well as by discourse and lesson plans. Should students pay close attention, they'll find there is much of value to be learned from these well-informed pedagogues. ~Jack Bowers

Jeff Rupert: tenor saxophone; Per Danielsson: piano, keyboard; Bobby Koelble: guitar; Richard Drexler: bass; Marty Morell: drums. Live from Orlando — add Grant Stewart: tenor saxophone (3). Do That Again — Koelble: guitar (3, 7, 11); add Michael Wilkinson: trombone (3, 6); John Almeida: trumpet (7); Richard Drexler, Thomas Potter, Johanna Nordhorn, JoAnne Stephenson: vocal (7).

Do That Again

Donovan - The EP Collection

Bitrate: MP3@320K/s
Time: 56:38
Size: 129.7 MB
Styles: Folk-Pop-Rock
Year: 1990
Art: Front

[3:09] 1. Hey Gyp (Dig The Slowness)
[3:23] 2. Josie
[2:13] 3. Catch The Wind
[2:40] 4. To Sing For You
[3:01] 5. Remember The Alamo
[2:04] 6. Oh Deed I Do
[3:49] 7. Ballad Of A Crystal Man
[2:09] 8. Universal Soldier
[1:45] 9. Do You Hear Me Now
[2:42] 10. Colours
[3:28] 11. Turquoise
[2:32] 12. There Is A Mountain
[2:30] 13. Rambling Boy
[2:53] 14. Sunny Goodge Street
[3:13] 15. Hurdy Gurdy Man
[3:37] 16. The War Drags On
[2:11] 17. Jersey Thursday
[2:52] 18. Why Do You Treat Me Like You Do
[2:39] 19. Jennifer Juniper
[3:37] 20. Mellow Yellow

Donovan Philips Leitch (born May 19, 1946 in Maryhill, Glasgow), better known as simply Donovan, is a Scottish singer, songwriter, and musician. Originally a ’60s folk singer, as the decade progressed Donovan cultivated his own unique eclectic sound, mixing elements of folk, pop, jazz, world music and more, often with a twinge of psychedelia. His most well-known work was suffused with altruistic political overtones, making him an iconic figure of the “flower power” counter-culture of the ’60s.

Donovan came to fame in the United Kingdom in early 1965 with a series of live performances on the television pop series, Ready Steady Go!. He first hit the charts in 1965 with his single “Catch the Wind”, continuing on with a string of hits, most of them produced by Mickie Most. Donovan’s 1966 Sunshine Superman marked not only a transition to the burgeoning psychedelic scene, but is also viewed as a formative album in its genre, inspiring countless contemporaries. His 1967 double album A Gift From A Flower To A Garden—the first major album released as a boxed set—completed the transition from beat poet folkster to hippie troubadour.

The EP Collection