Joe Puma - The Jazz Guitar Of Joe Puma

Bitrate: MP3@320K/s
Time: 75:02
Size: 171.8 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[4:10] 1. Loris
[3:08] 2. A Little Rainy
[2:48] 3. What Is There To Say
[3:25] 4. Hallelujah
[3:27] 5. How About You
[4:07] 6. Pumatic
[3:06] 7. Liza
[3:07] 8. Moon Song
[2:45] 9. I'm Old Fashioned
[2:20] 10. Time Was
[2:26] 11. Ain't Misbehavin'
[2:43] 12. Li'l Basses
[4:18] 13. Unison Blues
[5:03] 14. Ubas
[5:53] 15. Blues For Midge
[5:50] 16. Stablemates
[4:36] 17. I Got It Bad And That Ain't Good
[4:33] 18. Mother Of Earl
[7:09] 19. Indian Summer

Joe Puma (g), Barry Galbraith, Dick Garcia (g), Don Elliott (vibes), Bill Evans, Eddie Costa (p), Vinnie Burke, Dante Martucci, Oscar Pettiford (b), Ted Sommer, Al Levitt, Jimmy Campbell, Paul Motian (d)

Joe Puma (1927-2000) was a guitarist of imagination and skill that, despite emerging from New York under the shadow of Tal Farlow and Jimmy Raney, made some excellent recordings as a leader with some great and inventive jazzmen such as Bill Evans, Eddie Costa, Don Elliott, Oscar Pettiford and Paul Motian.

This CD is a swinging, warm set of well-thought out sessions, that manage to retain essential spontaneity meaningfully throughout the solos. Puma’s approach is tasteful, gentle and unpretentious, and his finely-etched, sensitive guitar playing garnered the respect of his fellow musicians and such critical acclaim as the 1957 New Star award for his instrument in the poll conducted by Metronome magazine.

The Jazz Guitar Of Joe Puma

---

Kermit Lynch - Down In Heaven

Bitrate: MP3@320K/s
Time: 34:10
Size: 78.2 MB
Styles: Jazz-blues vocals
Year: 2015
Art: Front

[2:48] 1. Ain't No God (Feat. Ricky Fataar)
[4:05] 2. It's All In The Game
[3:53] 3. Funny How Time Slips Away
[4:27] 4. Life
[3:17] 5. And I Love Her
[2:21] 6. Nuits Blanche
[5:41] 7. On The Banks Of The Ohio
[3:57] 8. Do Nothin' Till You Hear From Me
[3:37] 9. When You're Young (Feat. Ricky Fataar)

I was born in Bakersfield, California, and lived there one entire month. So much for the Bakersfield sound, I suppose. My father and two uncles were evangelists in the San Joaquin Valley, and my first exposure to music was in the funky, four-square, hellfire-and-damnation Churches of Christ up and down Highway 99. No musical instruments were permitted because none are mentioned in the New Testament, so it was four-part gospel—vocals only. There was a weathered old fiddler in one congregation who looked like he’d emptied many a bottle before his conversion, but he wasn’t permitted to fiddle during service—he’d play soulfully at the Sunday after-meetin’ picnics. I was never religious, never baptized, but I loved the singing, and those gospel songs still sound in my mind. “Are your garments spotless, are they white as snow, are you washed in the blood of the lamb?” Did that lamb have bleach in its blood?

When I visited the Mississippi Delta, it reminded me of the flat, crop-filled San Joaquin Valley, which was in fact populated in the twenties and thirties by migrants from the South. My parents’ families headed west from Arkansas and Oklahoma. I’ll credit my mother for my sinful ways—here was dancing, drinking, and smoking, recordings of Tommy Dorsey, Louis Armstrong, Frank Sinatra. One day she and I walked into the house and the floor was littered with shattered 78s. Her piano was upended, her sheet music in shreds. Fundamentalist wrath is nothing new. Maybe my passions for wine, women, and song were reactions to my dad’s church? Their communion beverage was Welch’s grape juice. I developed a thirst for the fermented fruit of the vine. And sex, of course, was not created by God. That was the devil’s work.

In the fifties, pop music and high school dances—Wolfman Jack on my radio under the covers at midnight—and my first live shows: Fats Domino rocking for hours at the Pismo Beach Auditorium and then Bill Haley and the Comets at a school dance, but I didn’t get the bug to sing until I moved from San Luis Obispo to Berkeley in 1962. My wife at the time came home one day with the double LP, Jimmy Reed at Carnegie Hall, a life changer. A close friend played a fine guitar, another was skilled on the bass, and we started jamming.

I took up harmonica, guitar, and piano, but never developed into much. Playing an instrument seemed to get in my way—singing was all I wanted to do. By the late sixties I had a band called The Roaches — see the obvious Beatles connection — and we were getting sub-survival gigs at bars and school dances. Drugs took their toll, but, luckily, cocaine gave me nosebleeds. When yet another drummer bit the dust, I couldn’t bear the idea of auditioning to replace him.

I could not believe it when someone offered to buy my little handcraft business making handbags out of Oriental rug scraps. I used the money to bum around Europe for four months. I intended to form a new band when I returned — instead, I borrowed five thousand bucks from my girlfriend and opened a hole-in-the-wall wine shop. It was to be a part-time gig, maybe make enough profit to buy a new harmonica, but the shop took off and took me with it.

Down In Heaven

---

Lester Young - Too Marvellous For Words

Bitrate: MP3@320K/s
Time: 52:14
Size: 119.6 MB
Styles: Saxophone jazz
Year: 1951/2012
Art: Front

[4:42] 1. Lester Leaps In
[5:08] 2. I Cover The Waterfront
[5:12] 3. Three Little Words
[3:29] 4. Up N' Adam (1)
[4:09] 5. Neenah (1)
[5:39] 6. Too Marvellous For Words
[4:12] 7. Indiana
[3:44] 8. Up N' Adam (2)
[3:27] 9. I Don't Stand A Ghost Of A Chance With You
[3:21] 10. Neenah
[4:46] 11. Lester Leaps
[4:19] 12. Medley: Up N' Adam / Jumpin' With Symphony Sid

Lester Young was born in Woodville, Mississippi in August 1909, one of six children. His father was leader of a carnival band and together with the family he moved to New Orleans while Lester was still an infant and it was there that his musical career began, first as a drummer and then as a teenage saxophonist.

After the break up of his father's organisation, Young went on to play with Art Bronson, The Original Blue Devils, Bennie Moten and in1933, with the redoubtable King Oliver.Young adopted a new way of playing tenor, rejecting the florid, multi-noted lines favoured by most tenor men of the day; he played few notes and delivered them with far less obvious definition. More significantly he played with a light, somehow transparent tone, a vast contrast to the heavy and breathy sound that was so popular. This was met with some hostility but after a brief stint with Kirk, he joined the Count Basie Orchestra,giving the reed section a totally distinctive sound. He remained with Basie until the end of 1949.

Sessions such as these live dates at Birdland in 1951 have young with fast company and in fine form. He is in the presence of his well-loved Basie colleague Jo Jones and with consummate professionals in the persons of pianist John Lewis and bassist Gene Ramey.

Recording Date: January 6, 1951 - January 20, 1951

Too Marvellous For Words

---

Mandy Barnett - I've Got A Right To Cry

Bitrate: MP3@320K/s
Time: 35:16
Size: 80.8 MB
Styles: Country
Year: 1999
Art: Front

[2:42] 1. I've Got A Right To Cry
[2:42] 2. Give Myself A Party
[2:33] 3. Who (Who Will It Be)
[3:29] 4. The Whispering Wind (Blows On By)
[2:47] 5. Trademark
[2:35] 6. Funny, Familiar, Forgotten Feelings
[2:26] 7. Falling, Falling, Falling
[3:43] 8. With My Eyes Wide Open I'm Dreaming
[2:10] 9. I'm Gonna Change Everything
[3:20] 10. Mistakes
[3:02] 11. Ever True Evermore
[3:42] 12. Don't Forget To Cry

If ever there was a singer who was born to sing the torch and twang style that Patsy Cline created, it is Mandy Barnett. A soft-spoken performer who belts 'em out with all the guts and grit of the founding mothers of traditional country music, Barnett is amazing. Producer Owen Bradley, a legend himself, is known for his classic production style for country music's true stars like Cline, Bill Monroe, Ernest Tubb, and Brenda Lee. Working at his studio, Barnett was given the kind of support an artist of her caliber deserves. However, Owen Bradley passed away suddenly during the course of production, leaving the project unfinished. Barnett, along with Owen's brother and longtime partner, Harold, as well as Harold's son, Bobby, forged ahead; the result is a lasting and honorable tribute to Owen Bradley's distinguished career, as well as the harbinger of a great career about to blossom. Songs as traditional as the title cut and as jazz-infused as "Who" show off Barnett's talents. Able to rip and roar with the boys, Barnett distinguishes herself on the pure honky tonk of "Trademark" while being very cool as she performs "Falling, Falling, Falling." Barnett pays homage to Cline on "Mistakes" and swings hard on "Don't Forget to Cry." A remarkable feat in the face of Owen Bradley's passing, Mandy Barnett is most certainly one of the few women recording as a country artist who can actually sing country music. She does so with flair and with a sense of history, while still being firmly grounded in who she is and the music she wants to make. I've Got a Right to Cry is lush and breathtaking, fulfilling the promise of the country & western genre and providing the listener great satisfaction. ~Jana Pendragon

I've Got A Right To Cry

---

Helen Schneider & Swr Big Band - The World We Knew : The Bert Kaempfert Album

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 47:53
Size: 110,4 MB
Art: Front

(1:59)  1. We Can Make It Girl - Opening
(2:50)  2. It Makes No Difference
(3:32)  3. L.O.V.E
(2:30)  4. Danke Schön
(3:28)  5. Lonely Is The Name
(3:42)  6. It's Only A Paper Moon
(3:31)  7. The World We Knew
(3:45)  8. Red Roses For A Blue Lady
(3:26)  9. Don't Stay
(4:04) 10. Strangers In The Night
(2:50) 11. I Can't Help Remembering
(4:00) 12. Rember When
(3:04) 13. You're Fooling No One But Yourself
(3:33) 14. You Turned My World Around
(1:34) 15. We Can Make It Girl - Final

Helen Leslie Schneider was born in Brooklyn, New York City, the daughter of Dvora and Abraham Schneider (the name means tailor in German). Her family was Jewish, and had immigrated to the U.S. from Germany and Russia. Schneider studied piano before starting to perform as a singer in venues in New England and New York. Between 1978 and 1984, she achieved success as a rock singer in Germany; her song "Rock'n' Roll Gypsy" reached the top 10 record charts and she received a Gold Record Award and shared the Goldene Europa Award with John Lennon. In 1980 she toured with the German rock legend Udo Lindenberg. She played one of the leads and the love interest of Eddie Wilson in the 1983 film Eddie and the Cruisers, which has since gained a huge cult following, especially in unusual places for an American film such as Nepal, Russia and especially Germany, where Schneider had name recognition. In 1987, she began her acting career at the Theater des Westens in Berlin playing the Sally Bowles in the musical Cabaret. 

From 1995 to 1998, she performed as Norma Desmond in Sunset Boulevard by Andrew Lloyd Webber. She worked with Eberhard Schoener on the recording of the Short Opera (1996) and on the goodbye-song for the TV series Derrick. From 1999 to 2001, she performed as Eva Perón in the musical Evita at the Bad Hersfelder Festspiele. She received enormous acclaim for her one-woman performance pieces: A Walk on the Weill Side, A Voice and A Piano, and Transformations Ver.0.1. In 2006 she received the DIVA - German Entertainment Prize for her lifetime achievements. In 2007 Helen Schneider returned to the recording business. She recorded three CDs with Edel Music. For "Dream a Little Dream" she received a golden CD award in jazz. Bio ~ http://en.wikipedia.org/wiki/Helen_Schneider

For her new album, the charismatic American Helen Schneider has now for the first time interpreted songs and arrangements of German composer and bandleader Bert Kaempfert.And who does not know the father of easy-listenings and his songs? He went with compositions like ,, Spanish Eyes "and ,, Strangers In The Night" in the history of music. Some of these jewels are also included on ,, The World We Knew ". Together with the internationally renowned and multiple Grammy-nominated SWR Big band is formed an excellent lightweight yet expressive tribute album that stands in the tradition of jazz music of the 50s and the orchestral swing music of the 60s. The lively big band sound makes the feet while listening to bob up and down and make you dance.  

Translate by google https://www.jpc.de/jpcng/jazz/detail/-/art/Helen-Schneider-The-World-We-Knew-The-Bert-Kaempfert-Album/hnum/5319672

Personnel:  Bass – Decebal Badila;  Drums, Percussion – Guido Jöris;  Electric Bass – Ladi Geisler (tracks: 2, 8, 13);  Guitar – Klaus-Peter Schöpfer; Organ – Martin Meixner (tracks: 1, 7);  Piano – Klaus Wagenleiter;  Saxophone – Andreas Maile, Axel Kühn, Klaus Graf, Pierre Paquette, Steffen Weber;  Trombone – Ernst Hutter, Georg Maus, Ian Cumming, Marc Godfroid;  Trumpet – Felice Civitareale, Karl Farrent, Martijn De Laat, Rudi Reindl

The World We Knew : The Bert Kaempfert Album

---

Lee Konitz - Lee Konitz With Wayne Marsh

Styles: Cool, Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 41:57
Size: 96,4 MB
Art: Front

(5:23)  1. Topsy
(4:44)  2. There Will Never Be Another You
(3:54)  3. I Can't Get Started
(6:16)  4. Donna Lee
(5:30)  5. Two Not One
(7:16)  6. Don't Squawk
(3:05)  7. Ronnies Line
(5:46)  8. Background Music

Altoist Lee Konitz and tenor-saxophonist Warne Marsh always made for a perfect team. Even by the mid-'50s when they were not as influenced by Lennie Tristano as previously (particularly Konitz), their long melodic lines and unusual tones caused them to stand out from the crowd. On this LP reissue Konitz and Marsh co-lead a particularly strong group that also includes pianist Sal Mosca, guitarist Billy Bauer, bassist Oscar Pettiford and drummer Kenny Clarke. 

Their renditions of "originals" based on common chord changes along with versions of "Topsy," "There Will Never Be Another You" and "Donna Lee" are quite enjoyable and swing hard yet fall into the category of cool jazz. This set is worth searching for, as are all of the Konitz-Marsh collaborations. ~ Scott Yanow  http://www.allmusic.com/album/lee-konitz-with-warne-marsh-mw0000240913

Personnel:  Alto Saxophone – Lee Konitz;  Bass – Oscar Pettiford;  Drums – Kenny Clarke;  Guitar – Billy Bauer;  Piano – Ronnie Ball, Sal Mosca;  Tenor Saxophone – Warne Marsh

Lee Konitz With Wayne Marsh

---

Joe Sample - Swing Street Cafe

Styles: Soul Jazz
Year: 1981
File: MP3@320K/s
Time: 35:15
Size: 81,1 MB
Art: Front

(5:01)  1. Hallelujah, I Love Her So
(3:39)  2. Rockhouse
(3:29)  3. Honest I Do
(4:51)  4. Next Time U See Me
(4:15)  5. Woke Up This Morning
(4:15)  6. C.C. Rider
(5:15)  7. Honky Tonk
(4:27)  8. After Hours

After releasing three very successful solo albums of contemporary jazz in a row 1978's Rainbow Seeker, 1979's Carmel, and 1980's Voices in the Rain Crusaders' pianist Joe Sample decided that a return to his roots was necessary, and recorded this date with famed soul and jazz session guitarist David T. Walker and released this tribute to classic rhythm and blues. Interestingly, the date had actually been recorded between Rainbow Seeker and Carmel, but remained unreleased until 1981 because of the chart success of the previous albums and his sold-out touring dates as a solo act and with the Crusaders. Sample and Walker hired the best in the business and the rhythm section here is made up of Motown bassist James Jamerson and famed Capitol session drummer Earl Palmer. In addition, the pair hired a horn section comprised of Herman Riley, Al Aarons, John Kelson, and Ernie Fields, Jr. The material is made up of wonderfully articulated covers of R&B touchstones such as Ray Charles' "Hallelujah, I Love Her So," Jimmy Reed's "Honest I Do," Chuck Willis' "C.C. Rider," and Bill Doggett's "Honky Tonk," to name a few. 

Produced by the Crusaders own production company, this date was recorded in two days and feels like its participants had a ball. Sample is at his most boisterous here, playing both Rhodes piano and upright, letting it just rip with both boogie-woogie runs, tough blues licks, and extended vamps (check his Professor Longhair New Orleans style barrelhouse piano on a cover of "Woke Up This Morning" where Walker lets loose too). Walker is an understated but brilliant guitarist in the same league with Phil Upchurch. He's a bit more meat and potatoes here; he's always funky and in the groove, but elegantly so. This adds a nice textural element to these otherwise hard swinging, gutbucket tunes. This album suffers from none of the production curses that doomed so much of '80s jazz and funk. It's merely a celebration by old friends of the music that shaped them. ~ Thom Jurek  http://www.allmusic.com/album/swing-street-caf%C3%A9-mw0000188636

Personnel: Joe Sample (keyboards); David T. Walker (guitar); Al Aarons (trumpet, horns); Ernie Fields Jr., Albert Aarons, John Kelson, John Kelson, Jr., Herman Riley, Jackie Kelso (horns); James Jamerson, Jr. (bass instrument); Earl C. Palmer Sr., Earl Palmer (drums).

Swing Street Cafe

---

Johnny 'Hammond' Smith - Open House

Styles: Hard Bop, Soul Jazz
Year: 1963
File: MP3@320K/s
Time: 69:09
Size: 159,0 MB
Art: Front

(4:35)  1. Open House
(5:23)  2. Cyra
(4:58)  3. I Remember You
(2:33)  4. Theme From Cleopatra
(6:56)  5. Blues For De-De
(4:37)  6. Why Was I Born
(5:46)  7. I Love You
(5:26)  8. Nica's Dream
(6:20)  9. Cleopatra And The African Knight
(5:44) 10. Bennie's Diggin'
(4:34) 11. Brake Through
(3:52) 12. Eloise
(4:30) 13. A Little Taste
(3:51) 14. Twixt The Sheets

The best organ jazz records fuse elements of gospel, blues, and soul together with the atmosphere of a jam session, as if a bunch of friends got together one night to toss a few back and play some tunes. Johnny "Hammond" Smith certainly has the right idea on the first of the sessions on this two-fer reissue; the instrumentation approximates that of Jimmy Smith's classic "The Sermon" but the music burns at a slightly lower temperature. Whereas Jimmy Smith punctuates tunes with great gusts of chords, Johnny "Hammond" Smith prefers to smolder behind, huffing and murmuring and occasionally taking a solo here and there. The presence of McFadden (who gigged with Jimmy Smith early on) and the fiery Thad Jones enlighten this session considerably, both taking memorable solos on a brisk "I Remember You". The others certainly don't embarrass themselves; Powell, a relative unknown, gets in a few good licks on every tune.

McFadden and Jones are missed on the second session, which features hard bop efforts from Virgil Jones and Person that don't really seem to fit the setting. Both are determined to leave no note unturned and often give the impression that they are trying too hard. The quartet does have all four wheels on the ground on steamy blues like "Eloise" and "Twixt The Sheets" (one of the best names for a song of this type ever), but pales next to the earlier group. However, the first session on this two-fer definitely makes this one worthy of acquisition. 

~ David Rickert http://www.allaboutjazz.com/open-house-johnny-hammond-smith-fantasy-jazz-review-by-david-rickert.php

Personnel: On 1-7: Johnny "Hammond" Smith, organ; Thad Jones, trumpet, cornet; Seldon Powell, saxophone, flute; Eddie McFadden, guitar; Bob Cranshaw, bass; Loe Stevens, drums; Ray Barretto, congas. On 8-14: Johnny "Hammond" Smith, organ; Virgil Jones, trumpet; Houston Person, saxophone; Luis Taylor, drums.

Open House

---

Carol Frazier - Life's A Ride

Size: 136,3 MB
Time: 58:23
File: MP3 @ 320K/s
Released: 2000
Styles: Jazz/Pop Vocals
Art: Front

01. Break My Fall (5:32)
02. Holy Roller Swing (2:51)
03. If You Only Knew (4:54)
04. One Word (4:50)
05. Life's A Ride (3:40)
06. Whisper Your Name (5:40)
07. Walking On The Moon (5:35)
08. Hypocrite (3:18)
09. Angels Can Fly (4:52)
10. Janey Lane (5:45)
11. Escape To Breathe (5:51)
12. It Is Well (5:29)

A voice that has a depth and strength below the surface, Carol Frazier doesn't get started on the right track. The spoken-word verses on "Break My Fall" heighten the vocals during the jazzy chorus, but dampen what might have been an improved beginning. Steve Boyton's guitar solo and dexterity compensates partially for the wrong musical foot, though. Much more polished and swinging are "Holy Roller Swing" and "Hypocrite," both having their hip horn sections. Frazier doesn't break out of her mold until "If You Only Knew," a song similar to Diana Krall or Norah Jones in quality and ability. Supported by a sparse but durable supporting cast, the singer hits all the right points and, more importantly, at the right moments. Continuing the momentum on "One Word," Frazier makes the most of a world music/pop and gospel crossover sound. Horns and a slow aerobic-exercise tempo result in a bouncy title track despite the rather corny lyrics. Performing a cover of the Police's "Walking on the Moon" is a daring proposition, but she holds her own with a whispering and sultry style over a Latin jazz arrangement. A couple of songs don't quite measure up, particularly the standard jazz idea on "Angels Can Fly" that features a bit of Ella Fitzgerald-like scat over Taylor Mesple's strong piano work. Of note, though, is the funky vibe on "Janey Lane," a duet between Steve Amedee and Frazier that is one of the easy highlights to notice. A touch of Celtic-inspired music finishes the record during "It Is Well." The album is sinfully soothing. ~Review by Jason MacNeil

Life's A Ride

---

Henry Franklin - Two Views

Size: 130,3 MB
Time: 56:01
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Brother Rudolph (6:39)
02. Punjab (5:17)
03. Limehouse Blues (6:01)
04. Pensitiva (9:46)
05. Frank's Tune (5:58)
06. Peewee (6:10)
07. Heaven's Dance (6:14)
08. Blue For Drayce (6:36)
09. Jazz Was Born (3:17)

Line-up:
Henry Franklin - Bass
Cecilia Coleman - Piano
Kirk Lightsey - Piano
Ben Clatworthy - Tenor Saxophone, Flute
Carl Burnett - Drums
Calvin Keys - Guitar
Lee Jimenez - Percussion
C. Infinite - Spoken Word

Born October 1st, 1940, Henry Franklin is a native of Los Angeles whose earliest memories of jazz were through his father, Sammy Franklin, a renowned trumpeter and bandleader.

As a child, Henry was encouraged to take music seriously and with that he understood its emotional power. Though he would take to the clarinet, piano and tap dancing early, it wasn't until the day he picked up the bass that music began to define him. So began Henry's life-long love affair with music.

As a veteran whose wide-ranging experiences travel the jazz spectrum from Hugh Masekela to Willie Bobo to Archie Shepp, Franklin knows what it takes to keep the flame alive. He was musical director for an outstanding little nightclub in Ventura, California for many years, where he personally lit that torch and maintained its rich glow. With this straight-ahead program, he reminds us that the best always wins; and will do so for eternity.

Two Views

---

Cecilie Noer - Mindwhisper

Size: 100,4 MB
Time: 42:25
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Folk/Pop Vocals
Art: Front

01. Beautiful Man (4:17)
02. Great And Wild (4:17)
03. Fly (4:48)
04. Tiden Star Stille (3:53)
05. Rainbows End (3:40)
06. The Girl With The Red Hair (3:56)
07. Mind Whisperer #1 (2:32)
08. Mind Whisperer #2 (3:45)
09. Time (4:12)
10. Efterar (4:03)
11. The Last Minutes (2:58)

Cecilie Noer is a new singer/songwriter from Denmark and has just released her new, and first, album Mindwhisper.

The texture of the music is very simple and the artistic expression is carried only by a Spanish guitar, a cahun and a very special voice spiced up with the sound of piano. The music is inviting the listener into a universe – into a reflection of life and into a reflections of the dreams, we have, “that don’t go away, but stay ever in our minds” (from the song Rainbow’s End).

Mindwhisper

---

Lisa Hilton - Horizons

Size: 115,4 MB
Time: 49:50
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Vapors And Shadows (4:10)
02. Nocturnal (2:45)
03. Sunset And The Mocking Bird (4:10)
04. The Sky And The Ocean (5:24)
05. Gold On The Ceiling (3:35)
06. Surfer Blues (4:39)
07. Moon River (4:53)
08. Lazy Moon (4:30)
09. Perfect Day (4:26)
10. When It Rains (3:28)
11. Dolphins (3:08)
12. Currents (4:36)

H O R I Z O N S startles with sheer beauty of sound, melody and improvisation. Lisa Hilton’s ‘new’ classic jazz features her shimmering piano with exceptional performances by trumpet savant, Sean Jones, and the soulful tenor sax of J.D. Allen, with strong support from Rudy Royston on drums and Gregg August on bass. Top sound engineers Al Schmitt, Gavin Lurssen, and James Farber have done a exceptional job sure to please audiophiles - available for the first time in vinyl as a ten track record .

Hilton writes in her liner notes, “Every single day there is beauty in nature…” and it is that natural beauty that informs and inspires these twelve tracks. From the classic straight ahead “Nocturnal” and Count Basie inspired, “Surfer Blues” to the intrigue of “Vapors and Shadows” or the playfulness of “Dolphins” and “Perfect Day,” Hilton and her well – honed band bring a playlist of jazz styles. It is the thrill of the melody though that enlightens “The Sky and the Ocean” and the Southern charmer “Lazy Moon” as well as Hilton’s elegant arrangements of Duke Ellington’s gem, “Sunset and the Mockingbird” and the Mercer/Mancini classic, “Moon River.” These pieces shine with Jones’ clarion flugelhorn and Allens’ seductive tenor alongside Hilton’s silky tones. Royston and August contribute well throughout, especially on The Black Keys “Gold on the Ceiling” and the thoughtful, “Currents”. H O R I Z O N S also includes the impressionistic, “When It Rains” as a solo piano soundscape.

“What I see in nature informs and inspires my life,” Hilton muses. “When I look out to our horizon, I always see something positive and I allow the outdoors to become a metaphor for what we’re doing musically and compositionally. We try and communicate a sense of expansiveness, depth, hope and clarity while improvising on life.”

Considered one of the most distinctive composers and pianists in jazz today, Lisa Hilton’s compositions draw on classical traditions, twentieth century modernists, and the avant-garde as much as they look back to icons of American jazz and blues. Hilton’s style influences extend beyond jazz legends Thelonious Monk, Count Basie or Duke Ellington, to include bluesmen Muddy Waters and Robert Johnson, minimalists like Steve Reich, modernists Prokofiev, Stravinsky and Bartok or current rockers The Black Keys.

Horizons

---

Ari Ann Wire - Midnight Songs

Size: 100,1 MB
Time: 42:27
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocald
Art: Front

01. My Man (4:11)
02. Nature Boy (4:04)
03. Midnight Flowers (5:00)
04. Tenderly (3:27)
05. Travelin' Light (3:23)
06. Why Don't You Do Right (4:49)
07. Summertime (5:14)
08. My Favorite Things (3:32)
09. Earth Of The Snow (5:15)
10. La Vie En Rose (3:27)

Ari Ann Wire (Ariadna Salvador, Barcelona, 1983). Multidisciplinary artist: singer, writer, cultural manager, voice teacher, creative writing teacher. She has trained since 1999 in Barcelona and Rennes (France) in: fine arts, contemporary and classic dance, theatre, dance-theatre fusion, voice and expression, butoh and yoga. In her vocal training, she specialised in Estill Voice Craft (Tom Burke, Luciana Carlevaro) and jazz, swing, blues and bossa-nova. She has performed on the Barcelona music scene since 2009, in a vast range of projects mixing music, poetry, theatre, dance, audio-visual and performance. Venues performed in include: Harlem Jazz Club, Tinta Roja, Mutuo Centro de Arte, Elèctric Bar, CCCB, Teatreneu, Sala Fènix, La Casa de la Paraula, Margarita Blue, Borneo, Tarannà, Inusual Project, Freedonia, Bar Terra, CC Casa Sagnier, CC Can Deu, CC Navas, CC La Sedeta, CC Sagrada Familia, etc.

In 2014 she published her first musical work titled Lady Lee, with the pianist Matías Muñoz: “Ari Ann Wire breaks into the jazz scene with a fresh work of great personality”, August ’14, Diariofolk. Described as “a storyteller on the wire”, she is “one of the new voices of our jazz scene. She is an expressive and multifaceted storyteller whose sound is influenced by singers such as Billie Holiday, Anita O’Day, Peggy Lee, Nina Simone, Edith Piaf, Elis Regina, Björk and Beth Gibbons, but also by writers as Julio Cortázar or the members of the Beat Generation. Lady Lee is based on the alter-ego that found wings and voice via the phenomenon known as the Poetry Brothel.”

Her second musical production in 2015 is composed and recorded with the musicians Matías Muñoz, Joao Vieira, Jorge Da Rocha and Pol Padrós and produced by Dave Bianchi. “Midnight Songs” traces a personal pilgramage between jazz, pop, rock and experimental influences. As well as her distinctive interpretation of jazz classics, she re-discovers two songs that were composed previously for her projects Wireglass and Spirituals To Swing. “There are moments where her voice resembles Betty Boop, and others it acquires the potency of Billie Holiday “. Le Cool, 2013.

Midnight Songs

---

Fredrik Kronkvist - Monk Vibes (Feat. Jason Marsalis, Reuben Rogers & Gregory Hutchinson)

Size: 116,6 MB
Time: 50:36
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Skippy (3:45)
02. Misterioso (5:54)
03. Teo (4:13)
04. Brilliant Corners (5:29)
05. Trinkle Tinkle (6:09)
06. Round Midnight (6:18)
07. Evidence (4:52)
08. Kronk’s Monk (4:08)
09. Four In One (4:27)
10. The Virtue Of Patience (5:16)

Alto saxophonist Fredrik Kronkvist releases album with Thelonious Monk’s music along with three American superstars.

When Kronkvist releases his new album MONK VIBES he continues cooperate with some of the hottest names on the jazz scene with Jason Marsalis on vibraphone, Reuben Rogers on bass and Gregory Hutchinson on drums. This time they dedicate themselves to interpret the genius composer Thelonious Monk’s music and spirit.

“I played with drummer and vibraphonist Jason Marsalis for the first time at Copenhagen Jazz Festival when Jason was flown in to replace drummer Antonio Sanchez. We hit it off immediately and after a few tours and an album later the idea was born to record Monk’s music with Jason on vibes, “says Fredrik.

Fredrik started his collaboration with Reuben Rogers, Gregory Hutchinson and pianist Aaron Goldberg in New York. From the first note there was a strong intuitive communication between these great musicians and they have released two acclaimed albums New York Elements (2012) and Reflecting Time (2014).

With Reuben Rogers and Gregory Hutchinson joining the band the idea of playing Monk’s music with Jason on vibraphone could blossom and become a reality. The unusual constellation with alto saxophone, vibraphone, bass and drums create a different, challenging sound without the piano and gives the group wide open spaces for colorful improvisations

MONK VIBES reflects Thelonious multidimensional universe where simplicity and complexity come together in a beautiful, danceable and contrasting music.

The album contains wild conversations, humor, calypso beat, odd time signatures, blues, beautiful ballads and a tonal language that sounds as skewed as obvious

Monk Vibes

---

Buddy Tate - The Texas Twister

Bitrate: MP3@320K/s
Time: 44:15
Size: 101.3 MB
Styles: Saxophone jazz
Year: 1975/1987
Art: Front

[4:28] 1. The Texas Twister
[6:36] 2. Talk Of The Town
[3:51] 3. Take Me Back Baby, Part One
[4:54] 4. Take Me Back Baby, Part Two
[7:01] 5. Chicago
[4:00] 6. Boogie Woogie
[6:13] 7. Topsy
[7:08] 8. Gee, Baby, Ain't I Good To You

The music on this New World release (originally put out by Master Jazz) is very much in the vein of Count Basie. Buddy Tate (playing tenor and clarinet in addition to taking a few of Jimmy Rushing-style vocals) is joined by fellow tenor Paul Quinichette (making one of his few recordings of the 1970's), pianist Cliff Smalls (an underrated swing player), bassist Major Holley and drummer Jackie Williams. Other than the opening original "The Texas Twister" and Tate's ballad feature on "Talk Of The Town," all of the music is from the Basie book including "Chicago," "Boogie Woogie" and "Topsy." All of the musicians(most of whom were not making too many recordings in the mid-1970's) sound somewhat inspired and are in fine form. ~Scott Yanow

The Texas Twister

---

Arif Mardin - All My Friends Are Here

Bitrate: MP3@320K/s
Time: 62:16
Size: 142.6 MB
Styles: Contemporary jazz
Year: 2010
Art: Front

[4:39] 1. The Greatest Ears In Town (Feat. Bette Midler And Barry Gibb)
[4:57] 2. So Blue (Feat. Chaka Khan And David Sanborn)
[5:31] 3. No Way Out (Feat. Nicki Parrott)
[4:14] 4. Goodbye To Rio
[3:17] 5. No One (Feat. Dianne Reeves)
[4:11] 6. So Many Nights (Feat. Danny O'keefe)
[5:39] 7. Calls A Soft Voice (Feat. Carly Simon)
[6:47] 8. Longing For You (Feat. Norah Jones With Joe Lovano And John Faddis)
[5:29] 9. Dual Blues (Feat. Amy Kohn)
[5:39] 10. Chez Twang's (Feat. Dr. John)
[5:54] 11. Willie's After Hours (Lonestar Blues)
[4:29] 12. All My Friends Are Here
[1:24] 13. Wistful

Unintentionally of course, Arif Mardin crafted his own eulogy. Naturally, given Mardin’s stature as arguably the most accomplished arranger/producer of the past half-century — the genius responsible for everything from Dusty Springfield’s landmark Dusty In Memphis to Barry Gibb’s career-altering falsetto, the stratospheric launch of the Average White Band and the equally meteoritic blast-off of Norah Jones — it is shaped of music. Mardin aptly referred to what would ultimately become All My Friends Are Here (NuNoise Records) as his “life’s work.” Begun in 2005 and completed by his son and co-producer Joe after Mardin’s death, in June 2006 at age 74 of pancreatic cancer, it is an incomparably rich, atmospheric celebration of all aspects of the 12-time Grammy winner’s vibrant life and career.

Mardin wrote or co-wrote all but one of the album’s 13 tracks. Some, like the exquisitely romantic “Longing for You” (written when Mardin was 23 as a ode to his then fiancée Latife) date back decades. Others are brand new. To perform this heady potpourri of songs, father and son assembled more than a dozen of the artists whose careers Mardin launched and molded, including Bette Midler, Norah Jones, Raul Midón, Barry Gibb, Chaka Khan, Danny O’Keefe, the Average White Band, Daryl Hall and Felix Cavaliere. ~Christopher Loudon

All My Friends Are Here

---

The Meters - The Very Best Of The Meters

Bitrate: MP3@320K/s
Time: 55:58
Size: 128.1 MB
Styles: Funk, New Oleans R&B
Year: 1997
Art: Front

[3:01] 1. Cissy Strut
[2:37] 2. Live Wire
[2:53] 3. Sophisticated Cissy
[3:14] 4. Look-Ka Py Py
[2:55] 5. Pungee
[2:24] 6. Tippi-Toes
[3:07] 7. Soul Island
[3:27] 8. Cabbage Alley
[5:13] 9. People Say
[4:00] 10. Hey Pocky A-Way
[4:40] 11. Just Kissed My Baby
[3:21] 12. Jungle Man
[3:31] 13. Out In The Country
[4:04] 14. Fire On The Bayou
[4:07] 15. They All Ask'd For You
[3:17] 16. Trick Bag

In keeping with the drift of Rhino's Very Best Of volumes, this 16-track disc provides a more concise, budget-minded retrospective for listeners who might not want a set that offers twice as much or more (in this case, Rhino's own two-disc Funkify Your Life anthology). That's not necessarily a criticism -- funk grooves can get tiring over the course of two hours if you're not a rhythm fiend. Should you want to keep your Meters to the one-sitting level, this smartly chosen, well-annotated set is fine, including all of the cuts ("Cissy Strut," "Sophisticated Cissy," "Look-Ka Py Py," "Hey Pocky A-Way," "Fire on the Bayou") you'd expect to find on a greatest-hits set. ~Richie Unterberger

The Very Best Of The Meters

---

Ralph Sutton - Alligator Crawl

Bitrate: MP3@320K/s
Time: 66:16
Size: 151.7 MB
Styles: Piano jazz
Year: 1976/1992
Art: Front

[3:05] 1. Alligator Crawl
[6:37] 2. Ain't Misbehavin'
[4:45] 3. Can't We Be Friends
[3:38] 4. Honky Tonk Train Blues
[4:49] 5. Squeeze Me
[3:58] 6. Honeysuckle Rose
[4:35] 7. Rose Room
[3:42] 8. Echoes Of Spring
[4:53] 9. Love Lies
[1:56] 10. Eye Opener
[2:50] 11. Two Sleepy People
[3:24] 12. Muskrat Ramble
[3:39] 13. I've Found A New Baby
[4:54] 14. Memories Of You
[3:22] 15. Viper's Drag
[4:28] 16. Dinah
[1:33] 17. Handful Of Keys

Recorded the same day as the equally successful Off the Cuff, this solo set by pianist Ralph Sutton finds him exploring his usual repertoire, including quite a few tunes associated with Fats Waller. No matter how many times Sutton plays these veteran standards, he always seems to come up with fresh variations and enthusiastic (yet melodic) improvisations. Highlights of the Jazzology recording include "Alligator Crawl," "Ain't Misbehavin'," "Honky Tonk Train Blues" and "Honeysuckle Rose." ~Scott Yanow

Alligator Crawl

---

Rosa Passos - Curare (Relançamento 2008)

Bitrate: MP3@320K/s
Time: 46:36
Size: 106.7 MB
Styles: Latin jazz
Year: 2013
Art: Front

[3:06] 1. Curare
[2:37] 2. Fotografia
[3:09] 3. Tim Tim Por Tim Tim
[3:39] 4. Coisa Mais Linda
[4:40] 5. Dindi
[5:13] 6. Aquarela Do Brasil
[3:36] 7. A Felicidade
[3:18] 8. Folha Morta
[3:36] 9. Só Danço Samba
[3:34] 10. Sim Ou Não
[2:48] 11. O Nosso Amor
[4:06] 12. Adeus América Eu Quero Um Samba
[3:08] 13. Ilusão à Toa

Rosa Passos is a contemporary singer in Brazil who is dedicated to a genuine evolution of Brazilian music, devoid of fashionable trends or commercialism. She has established herself firmly in the country’s artistic scenery, acknowledged by such artists as João Gilberto, Maria Schneider, Clare Fisher, Paquito D’Rivera, Johnny Alf, Nana Caymmi (who recorded two of her compositions), and even the number one enemy of bossa nova, the music researcher J.R. Tinhorão.

Passos’s father was very fond of music and he started all his six children on an instrument. Passos’s perfect pitch capabilities led her to begin playing the piano at the age of 3. When she was 11, she heard João Gilberto’s Orfeu do Carnaval, which changed her life. Passos abandoned the study of piano and decided to be a singer. She began listening to Gilberto compulsively, and learned the violão from listening to Gilberto’s records. Her other vocal influences were Ella Fitzgerald, Nina Simone, Etta James, Billie Holiday, Dinah Washington, Shirley Horn (who has declared herself to be a fan), Cole Porter, and George Gershwin. However, Rosa’s main influences remain João Gilberto and Dorival Caymmi.

Curare (Relançamento 2008)

---

Art Pepper - The Return Of Art Pepper

Bitrate: MP3@320K/s
Time: 68:32
Size: 156.9 MB
Styles: Post bop, West Coast jazz, Saxophone jazz
Year: 1988/2006/2014
Art: Front

[4:24] 1. Pepper Returns
[4:58] 2. Broadway
[4:16] 3. You Go To My Head
[4:40] 4. Angel Wings
[4:36] 5. Funny Blues
[4:39] 6. Five More
[4:17] 7. Minority
[3:35] 8. Patricia
[4:14] 9. Mambo De La Pinta
[5:53] 10. Walkin' Out Blues
[3:47] 11. Pepper Steak
[5:06] 12. You're Driving Me Crazy
[4:59] 13. Tenor Blooz
[5:42] 14. Yardbird Suite
[3:19] 15. Straight Life

Blue Note's The Return of Art Pepper: The Complete Art Pepper Aladdin Recordings compiles the 13 final masters that the alto saxophonist recorded for Aladdin between August 1956 and January 1957. These are titled The Return of Art Pepper, since they were recorded shortly after he completed a jail sentence in 1956. As a result, Pepper's chops are a little rusty, but you can hear that he still has a passion for playing, and he does improve over the course of these tracks. For serious Pepper fans, it's worth a listen, but for less dedicated fans, there are better places to become acquainted with his work. ~Stephen Thomas Erlewine

Recording Date: August 6, 1956 - January, 1957

The Return Of Art Pepper

---