Vic Juris - Free Admission

Bitrate: MP3@320K/s
Time: 56:23
Size: 129.1 MB
Styles: Guitar jazz
Year: 2012
Art: Front

[5:31] 1. Congeniality
[5:19] 2. Ocean View
[5:29] 3. How Deep Is The Ocean
[5:23] 4. The Sky
[8:26] 5. An Oversea's Memory
[5:12] 6. Floater
[7:12] 7. You're My Thrill
[4:41] 8. Mccoy
[4:19] 9. 12 Tone Jones
[4:46] 10. Dolores

VIC JURIS (g); JAY ANDERSON (b); ANTHONY PINCIOTTI (d).

A native of Jersey City, N.J., Juris took up guitar at age 10 during the summer of 1963. Accordion, he notes, was a far more popular instrument than guitar at that time. All that would change the following year when Beatlemania washed up on the Jersey shore. Juris got his first electric guitar on Christmas of 1964, and by the mid-’60s he was playing cover versions of Jimi Hendrix, Cream and the Temptations material in rock and R&B bands around his area. He discovered jazz in his late teens and subsequently studied with Philly jazz guitar legend Pat Martino.

Juris uses a nylon-string Takamine acoustic guitar for the Brazilian music, but his main ax since 1980 has been a thin hollow-body guitar made by New Jersey luthier Tom Doyle. He also plays a closed archtop (no f-holes) built by Phoenix luthier Glen McKerrihan.

Free Admission

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Mario Peluso - Juste Un Autre Beau Rêveur

Bitrate: MP3@320K/s
Time: 39:02
Size: 89.4 MB
Styles: Country
Year: 2013
Art: Front

[0:27] 1. 1972
[3:55] 2. Partir
[3:32] 3. Juste Un Autre Beau Reveur
[4:00] 4. Elle Et Lui
[2:59] 5. Enfin Chez Nous
[5:06] 6. Angliers
[3:13] 7. J'ai Mal A L'amour
[2:53] 8. My Song Is Yours
[2:56] 9. Voudrais Tu Danser Avec Moi
[3:22] 10. Rien A Faire
[2:44] 11. Quelqu'un
[3:50] 12. Presque Rien

Vétéran cowboy solitaire de la chanson québécoise, Mario Peluso livre avec ce sixième album peuplé de malchanceux chroniques et d’abonnés à la mélancolie une véritable leçon de country-rock, aussi bien dire une leçon de vie. Qu’il s’émeuve du sort tragique d’«un joueur d’harmonica noyant sa peine dans la vodka» (Elle et lui, avec un solo de guitare de Richard Boisvert à faire lever le poil), se tire le portrait à la troisième personne (la pièce-titre) ou écrive, dans le sillon du vieux Neil, une suite illégitime d’Out on the Weekend (Partir), le gars du Nord aura aménagé un disque-repaire pour tous ceux qui n’ont d’habitude pour refuge que la ligne d’horizon du bout de la route. Beau à en pleurer dans le fond de son bock de bière.

Juste Un Autre Beau Reveur

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Carol Kidd & Nigel Clark - Tell Me Once Again

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 46:20
Size: 106,7 MB
Art: Front

(3:48)  1. Stormy Weather
(3:30)  2. Moon Blue
(3:08)  3. Alfie
(4:20)  4. Once in a While
(2:46)  5. Tell Me Once Again
(3:12)  6. He Won't Send Roses
(3:59)  7. Moon River
(3:36)  8. I Got Lost in His Arms
(3:25)  9. You Don't Know Me
(4:31) 10. I Loves You Porgy
(4:49) 11. The Shadow of Your Smile
(5:11) 12. The End of a Love Affair

Since launching her career in the mid-’80s, Scottish vocalist Carol Kidd has earned plaudits from Peggy Lee, Ella Fitzgerald, Sarah Vaughan and Tony Bennett. In 1990, Sinatra invited her to open for him in Glasgow and subsequently declared her “the best-kept secret in British jazz.” The Brits, and about two-thirds of the globe particularly Asia, where she is a major star, on par with Michael Bublé and Diana Krall have embraced her. Yet, after nearly a dozen albums, her secret status persists on this side of the pond.

What American listeners are missing out on is an exceptional talent whose phrasing mirrors the clarity and precision of Streisand and whose interpretive skills are perhaps unrivaled. There is an enticing vulnerability about Kidd, an emotional openness that is particularly effective across these dozen tracks, all focused on wistful romantic musings. Kidd’s longtime guitarist Nigel Clark, providing solo accompaniment, gorgeously enhances the pensive mood.

The exquisite tenderness of their kinship extends from the gentle ache of “Once in a While” and “The Shadow of Your Smile” to the muted acquiescence of Jerry Herman’s “He Won’t Send Roses” (originally written from a male perspective as “I Won’t Send Roses” and, possibly for the first time, retold from the woman’s viewpoint). And Kidd also makes her debut as a lyricist, crafting with Clark the sweetly reflective title track. Written after the sudden loss of her partner, John, it explores the warm afterglow of their long relationship. ~ Christopher Loudon  http://jazztimes.com/articles/29392-tell-me-once-again-carol-kidd-nigel-clark

Personnel: Nigel Clark (Guitar), Carol Kidd (Vocal).

Tell Me Once Again

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Freddie Hubbard - The Body & The Soul

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 36:15
Size: 83,3 MB
Art: Front

(4:36)  1. Body And Soul
(5:18)  2. Carnival (Manha De Carnaval)
(3:56)  3. Chocolate Shake
(3:22)  4. Dedicated To You
(3:28)  5. Clarence's Place
(3:04)  6. Aries
(4:32)  7. Skylark
(3:40)  8. I Got It Bad (And That Ain't Good)
(4:15)  9. Thermo

At age 25, Freddie Hubbard made inroads into modern jazz most trumpeters could not imagine, much less come through with. As a soloist, one of Hubbard's crowning achievements in his early period was this recording on which he teamed with Wayne Shorter, marginally as a performer but prominent in the role of arranger/conductor for his first time ever. Utilizing a septet, 16-piece big band, and orchestra plus stings to play concise, tight tunes, Shorter provides the backdrop to employ Hubbard's bold toned trumpet and all of its devices in a full display of his powerful melodic talents. Yeoman Reggie Workman plays bass on all selections, with drummer Louis Hayes in the seven-piece combo, and great work from Philly Joe Jones in the larger bands. Interestingly enough, the three tracks with the smaller ensemble are the most interesting, due to the presence of Eric Dolphy, Curtis Fuller, Cedar Walton, and Shorter on the front line. "Clarence's Place" is a post-bop jewel with spiky brass accents and Dolphy's ribald and outre alto sax solo contrasting Shorter's relatively reserved tenor, "Dedicated to You" is a wisp of a tune, while "Body & Soul," an atypical choice for the opening selection, is a straight read of the classic ballad with a chart that sounds larger than the small horn section, and a wavering flute via Dolphy. 

The big band does an unusual soul-jazz treatment of the Brazilian number "Manha de Carnaval" flavored by Robert Northern's French horn, while "Aries" is a hard bop show stopper with two-note accents buoying Hubbard's great lyrical lines, and goes further into hard bop with "Thermo" as the horns demand attention with the trumpeter as an afterthought. The string section, ten pieces strong, joins the big band on the film noir type Duke Ellington piece "Chocolate Shake," the stock "I Got It Bad," and "Skylark," with its soft clarion intro bubbling underneath with the violins, violas, and cellos. The manner in which this recording is programmed is thoughtful in that it lends to the diversity of the project, but is seamless from track to track. Dan Morgenstern's hefty liner notes also explain the concept behind this ambitious project, one which did not compare to any of Hubbard's other recordings in his career. Therefore it stands alone as one of the most unique productions in his substantive discography, and a quite credible initial go-round for Shorter as an orchestrator. ~ Michael G.Nastos  http://www.allmusic.com/album/the-body-the-soul-mw0000612194

Personnel: Freddie Hubbard (trumpet, horns); Gene Orloff, Harry Lookofsky (vocals, violin, strings); Julius Held, Sol Shapiro, Arnold Eidus, Morris Stonzek, Charles McCracken , Raoul Poliakin, Harry Katzman (violin, strings); Harry Cykman (violin); Eric Dolphy (flute, alto saxophone); Jerome Richardson (saxophone, tenor saxophone, baritone saxophone); Seldon Powell, Wayne Shorter (saxophone, tenor saxophone); Charles Davis (saxophone, baritone saxophone); Richard Gene Williams , Clark Terry, Ernie Royal, Edward Armour, Al DeRisi (trumpet); Robert "Brother Ah" Northern, Julius Watkins (French horn, horns); Curtis Fuller, Melba Liston (trombone); Robert Powell (tuba, horns); Cedar Walton (piano); Joe Craig Jones, Louis Hayes, Philly Joe Jones (drums).

The Body & The Soul

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Hank Jones - Hank Jones Trio With Mads Vinding & Al Foster

Styles: Bop, Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 60:49
Size: 139,7 MB
Art: Front

(5:10)  1. Pent Up House
(5:50)  2. Four
(7:01)  3. When Will I Know
(5:12)  4. Bloomdido
(6:49)  5. Midnight Sun
(6:13)  6. Monk's Mood
(7:21)  7. Quintessence
(5:18)  8. Bemsha Swing
(6:37)  9. Up Jumped Spring
(5:13) 10. Bag's Groove

Although pianist Hank Jones has been a major player since the mid-1940s, his classy swing-to-bop style still sounds fresh a half-century later. Both of his sidemen (bassist Mads Vinding and drummer Al Foster) were actually born in the mid to late '40s, but they certainly have no difficulty communicating with the elder Jones. This fine trio workout finds the musicians digging into ten jazz standards (mostly from the 1950s and '60s) and coming up with fresh statements on such numbers as "Pent Up House," "Bloomdido," "Quintessence" and "Up Jumped Spring." A typically flawless and swinging effort from Hank Jones. ~ Scott Yanow  http://www.allmusic.com/album/hank-jones-trio-with-mads-vinding-and-al-foster-mw0000628137

Personnel: Hank Jones (piano); Al Foster (drums).

Hank Jones Trio With Mads Vinding & Al Foster

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Judd Nielsen - Blossom Showers

Size: 107,5 MB
Time: 46:19
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Hammond Organ
Art: Front

01. A Bit Of Grease (7:40)
02. Jimmy Who (6:12)
03. Blossom Showers (8:15)
04. Kingsboro Walk (6:42)
05. Love Forces Of You (8:23)
06. Pleadin' Time (9:03)

Hammond organ and piano are Judd's specialty. He has performed with a plethora of artists and bands spanning different genres in New Orleans and New York. Over the years his musical experiences have included Walter "Wolfman" Washington and the Roadmasters, Trombone Shorty and Orleans Avenue, Melvin Sparks, Big Daddy Kane, Harry Fraud, Akir, 86 Supreme and Marvin Horn. Currently he is working with a new organ trio including guitarist "King" Solomon Hicks and drummer Austin Williamson. The band has a new recoding out now featuring all original material by Judd entitled Blossom Showers.

Blossom Showers

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Etypejazz - Martini Blue

Size: 112,3 MB
Time: 48:13
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop/Rock Vocals
Art: Front

01. Yeh Yeh (3:05)
02. Here, There And Everywhere (4:10)
03. Alamore (4:55)
04. (They Long To Be) Close To You (5:29)
05. People Get Ready (3:44)
06. This Can't Be Love (3:23)
07. I Wish I Knew How It Would Feel To Be Free (5:34)
08. Moon River (3:56)
09. My Heart Belongs To Daddy - Diamonds Are A Girl's Best Friend (5:59)
10. Coffee (3:43)
11. Mas Que Nada (4:08)

The band originally took its name from the iconic 1960’s Jaguar, the E-Type, and this album is a tribute to some of the classic songs from that era.

Kick back and let yourself be transported back to the 1960's with this cool lounge-feel jazz tribute to a wonderful era in music. Recorded live in front of an audience, new covers album ‘Martini Blue’ by South Australian 5-piece Etypejazz showcases talents including Nina Simone, Sergio Mendes plus The Carpenters to name just a few plus a few original songs of their own.

Beginning with the toe tapping Yeh Yeh originally by Georgie Fame and The Blue Flames, sets the scene for the rest of the album. With the smooth vocals, its easy to get carried away with its funky repetitive beats and spectacular sax and keys solos and catchy lyrics.

Old favourite Mas Que Nado a sexy track and again including a sax/keys solo to die for. You could easily imagine listening to this track live in any jazz club to get everyone up and grooving.

The Carpenters classic Close To You brings it back with a soulful, bluesy sound and highlights the gorgeous bass. A beautiful stripped back version with a kick near the end it closes with stunning sax tones.

One of Nina Simone's most popular and iconic songs I Wish, an uplifting and inspiring track about the aspiration of living in a world without racism and segregation gets a funky soulful makeover with a gospel twist that could have you singing hallelujah by the end.

Highlighting the groups musical talents in all areas Here There is a dreamy, tranquil tune about love with its sensual tones full of emotion and grace.

Beginning with the raspy sounds of a record player, Heart Diamonds evolves into a silky ballad and then effectively turns into the infectious anthem Diamonds Are A Girls Best Friend.

Spanish feel Alamore goes the latin path with a jazz flair before going to the sensual sweet track Nat King Cole's This Can't Be Love. A lovely track that got me swaying, making me wish I was back in that jazz bar. Closing with renowned classic Moon River, an elegant and most frequently covered favourite of many they really do it amazing justice.

Martini Blue

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Kim Pensyl - Foreign Love Affair

Size: 100,1 MB
Time: 40:59
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Contemporay Jazz
Art: Front

01. Mount Rundle (3:53)
02. A Kiss To Say Goodbye (3:29)
03. Look The Other Way (4:48)
04. Drifting (3:37)
05. Dance Of The Butterfly (3:54)
06. Michael B (5:23)
07. In The Nick Of Time (3:38)
08. Lake Louise (3:50)
09. Crossing Paths (4:37)
10. No More Sad Songs (3:44)

Pianist and trumpeter Kim Pensyl returns with an upbeat album of instrumental jazz that is themed after his various travels. The music was composed to capture the grandeur of mountains and the percolating buzz of the city, from Brazil to the Great Barrier Reef to the Canadian Rockies. The music is entirely acoustic, with harmonies that were composed, arranged and performed entirely by Pensyl. Piano is dominant on many of the tracks, with gentle rhythms, some guitar and horns. It’s an elegant album, especially when listening to breezy tracks like “A Kiss to Say Goodbye” and “Look the Other Way.” “Drifting” ups the tempo to present a warm smooth jazz sound. Pensyl makes music that is packed with feeling – each song tells a story and as listener, you will find yourself enticed by the ride.

Kim Pensyl reflects on his travels in this stunning exhibit of his incredible, critically-acclaimed skill set of composition, arranging, and playing every instrument. With a little contemporary, a little feel-good, and a lot of talent, this is a very enjoyable recording!

Foreign Love Affair

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Rob Silver - The Meeting (Feat. Andy McFee & Christian Finger)

Size: 109,0 MB
Time: 46:50
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Guitar Jazz
Art: Front

01. The Meeting (3:36)
02. Falling Grace (4:13)
03. George Washington Blues (4:02)
04. I'm Getting Sentimental Over You (6:17)
05. Acorns (5:46)
06. House Of Jade (4:28)
07. Just One Of Those Things (6:03)
08. Song For Eva (5:46)
09. April In Paris (1:40)
10. Waiting Eyes (4:56)

Welcome to my CD, The Meeting. Why “The Meeting”? First of all, it is my first CD and thus a first meeting between me and you, my CD’s listeners. And secondly, it is a meeting among musicians – my inspirational partners in this session, Andy McKee on bass and Christian Finger on drums -- who got together for an afternoon of music making. Any time such a meeting happens you never know what the results will be, and I am pleased that we achieved something that I want to share with you. I very much appreciate the contribution of these two great musicians to my CD.

I have always loved all the strands that weave together into American music: folk, bluegrass, urban and rural blues, country western music, ragtime, swing, rock, and most importantly to me, jazz. Although this is a jazz CD, I try to pull from all these musical sources and write music that reflects country roads, city streets, saloons, dance halls, and jazz clubs. I always have a sense when music is real and I tried to follow this instinct in my choices for this CD, both when writing my own tunes and when interpreting the music of masters such as Cole Porter and Wayne Shorter.

A bit more about me: although this is my first CD, I am not a young guy! I waited a long time for the opportunity to record and meet you like this. Many things intervened. I wanted to wait until I felt I was ready technically and had something original to say. I wanted to help my family thrive by following my talents in other fields. Having studied computer science, I worked in the high tech world for many years and had wonderful experiences there. But I always kept my music alive by studying, practicing, jamming, and gigging when and where I could. I very much appreciate my family’s support in empowering me to continue keeping the flame of my music burning during those years!

The Meeting

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Nomad Dreams - NoMad Dreams

Size: 101,2 MB
Time: 39:02
File: MP3 @ 320K/s
Released: 2015
Styles: Crossover Jazz, Vocals
Art: Front

01. House Of Rainbows (3:08)
02. Chocolate (3:23)
03. Good Morning (3:29)
04. The Road (3:23)
05. Don't Fear Dear (3:54)
06. Dear John (3:31)
07. Unemployed (3:01)
08. La Belle Du Jour (3:48)
09. Two Birds (3:33)
10. Not Good Enough (3:13)
11. Smile My Love (4:34)

Each time we tried to define our genre, we failed spectacularly. Because every song we wrote seemed to fit in another category: funk, country, samba, waltz, jazz ballad, bossa, folk… Also, our love for jazz and French chanson left some traces – as you’ll see! So, for now, we’re at the crossroads of jazz, cabaret and pop, but who knows where the next song will take us?

What unifies our music is a love for twists, paradoxes, and complex characters. We write sincere lyrics, but each song has a new persona – it’s as much a dramatic performance as a confession. So our upcoming album will present not only a collection of songs, but a kaleidoscope of protagonists – from an unemployed writer to a corrupt politician to a vindictive lover.

Band members:
Vlada Brofman (voice, guitar)
Georges Nile (keyboard)
Wing La (drums)

NoMad Dreams

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Gene Ludwig - The Groove Organization

Bitrate: MP3@320K/s
Time: 64:00
Size: 146.5 MB
Styles: B3 Organ jazz
Year: 2002
Art: Front

[5:39] 1. Chitlins Con Carne
[8:07] 2. One Mint Julep
[6:12] 3. Step Lightly
[6:07] 4. Mood Indigo
[4:42] 5. Pause For Fred's Claws
[5:36] 6. Billie's Bounce
[7:23] 7. Sugar
[5:55] 8. All Blues
[9:04] 9. You've Changed
[5:11] 10. It's You Or No One

Comprised of craftsmanship and inspiration in equal measure, Hammond B-3 organist Gene Ludwig’s The Groove ORGANization (Blues Leaf) thrives within the broad, well-trod parameters of soul-jazz. Ludwig and his partners guitarist Bob DeVos and drummer Billy James pull off the admirable feat of making music that has an aura of good times, yet is substantial and thought provoking. The overall sound is blues and soul saturated, minus any hint of cliché or grandstanding. Although this is jazz that provides visceral pleasure in the sure-handed presentation of familiar, seemingly basic elements, the trio’s serious play rewards the listener who pays close attention to their every move.

Utilizing a tight, high-pitched snare drum and a ride cymbal, James’ unwavering shuffle beat throughout “One Mint Julep” creates an infectious, jaunty strut that never falters. A laconic, plainspoken player who takes his time in expressing a bottomless well of ideas, DeVos is a thinking person’s guitar hero. Favoring small but significant gestures and orderly development, his solo manages to sound both calculated and ardent. Ludwig follows the guitarist and displays an equally broad palette, unearthing a phrase and working it into various forms before seamlessly moving on to another one, often working up to rousing climaxes.

A deliberate, easy swinging treatment of Joe Henderson’s “Step Lightly” exposes another side of the trio’s artistry. While DeVos plays the melody in a relaxed manner, James’ quarter note ride cymbal rhythm firmly moves the music forward. During three improvised choruses, the guitarist generally keeps things on low boil, playing with purpose but not sounding overly insistent. In addition to a full, liquid tone, it’s his restraint and avoidance of excessive velocity that makes DeVos sound so convincing. Boosted by James’ persistent, irregularly placed accents on the snare, Ludwig is equally impressive, enlarging a deep, soulful groove with flighty digressions that always come back home.

Ludwig and DeVos are brilliant, knowing bebop players, and on an up-tempo “Billie’s Bounce,” each man respects the style’s conventions without sounding restrained or hemmed in by them. Using both sticks and his hands, James’ extended solo (the veteran’s first on record) throws it all out the window in favor of something more idiosyncratic and less rule governed. His playing is an absorbing patchwork of shifting rhythms and tempos, executed with a combination of finesse and strength that swings mightily, hangs together as a whole, and exudes an air of absolute certainty. ~David A. Orthmann

Gene Ludwig--Hammond B-3 Organ; Bob DeVos--Guitar; Billy James--Drums.

The Groove Organization

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The Kinks - Classics: The Best Of The Kinks

Bitrate: MP3@320K/s

Time: 71:59

Size: 164.8 MB

Styles: Pop rock, AM pop

Year: 2014

Art: Front

[2:13] 1. You Really Got Me

[2:23] 2. I Need You

[2:21] 3. I Gotta Move

[2:29] 4. Tired Of Waiting For You

[2:03] 5. Stop Your Sobbing

[2:42] 6. See My Friends

[2:17] 7. Till The End Of The Day

[3:03] 8. Sittin' On My Sofa

[2:48] 9. Where Have All The Good Times Gone

[2:11] 10. Dandy (Continental Europe Single)

[3:33] 11. Sunny Afternoon

[2:27] 12. Too Much On My Mind

[3:20] 13. Dead End Street

[2:37] 14. David Watts

[3:16] 15. Waterloo Sunset

[3:10] 16. Death Of A Clown

[2:47] 17. Wonderboy

[2:51] 18. Days

[2:33] 19. Picture Book

[3:18] 20. Drivin'

[3:36] 21. Victoria

[3:57] 22. Lola

[3:15] 23. Strangers

[3:20] 24. This Time Tomorrow

[3:15] 25. God's Children

The Kinks (1963–1996) were an English pop-rock group that came out of the British R&B scene of the early 1960s. Formed in Muswell Hill, North London, by brothers Ray Davies and Dave Davies in 1964 and categorised in the United States as a “British Invasion” band, the Kinks are recognised as one of the most important and influential rock groups of the era. In 1990, their first year of eligibility, the original four members were inducted into the Rock & Roll Hall of Fame. Later, in November 2005, they were inducted into the UK Music Hall of Fame. Among numerous other honours, they received the Ivor Novello Award for “Outstanding Service to British Music” in 2006.

Formed in 1963 in Muswell Hill, North London, they first gained prominence on the heels of the well-received and highly influential single “You Really Got Me” (1964). The group originally consisted of lead singer/guitarist Ray Davies, his brother lead guitarist Dave Davies, drummer Mick Avory, and bassist Peter Quaife. Quaife left (twice) in the late 1960s, and Avory finally left in 1984 as the result of a long-running dispute with Dave Davies, leaving only the Davies brothers as the core of the original group.

With Ray Davies’ songwriting skills and unashamedly English voices, Dave Davies’ impressive guitar work, and Avory’s tight and steady drumming, the band became one of the best and most influential groups of British pop and the “british invasion” of the U.S.A., lasting longer than any of their competitors, apart from The Rolling Stones, as they broke up in 1996. Their catalogue of songs has been covered by Van Halen, The Pretenders, The Black Keys, The Stranglers, Queens of the Stone Age , and many more.

In November 2005, the Kinks were inducted into the UK Music Hall of Fame. Among numerous other honours, they received the Ivor Novello Award for “Outstanding Service to British Music” in 2006.

Classics: The Best Of The Kinks

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David Sauzay, Harold Mabern - Meeting With David Sauzay & Harold Mabern

Bitrate: MP3@320K/s
Time: 59:57
Size: 137.3 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[6:55] 1. Rakin' & Scrapin'
[4:42] 2. Hank & Lee
[5:22] 3. Brother Spike
[4:10] 4. Mr Stitt
[5:17] 5. Strike Up The Band
[6:21] 6. Two Little Cats
[6:22] 7. One For My Love
[4:29] 8. Top Shelf
[5:02] 9. Straight Up
[6:06] 10. Una Mas
[5:05] 11. Blues For Mabes

A l ‘époque du Collectif Mu, je m’inspirais du style de John Coltrane pour l’intensité, le son ,la dynamique,et aussi du style de Hank Mobley : solos élégants, phrases magnifiques et un art pour ecrire des compostions intelligentes et efficaces.

A l’époque des nuits blanches du petit opportun, j’ai découvert le 1er disque de Eric Alexander avec Harold Mabern & Joe Farnsworth, »UP OVER &OUT» Titre éponyme de Hank Mobley, un morceau mineur et modale avec accompagnement à la Mc Coy Tyner.

Par la suite j’ai écouté d’innombrables disques avec ERIC ET MABE. j’ai vu Eric plusieurs fois à Paris, jusqu’au jour ou il est venu jouer un set avec moi dans un club parisien apres avoir accompagner Mc coy Tyner au theatre du chatelet Ce soir là apres un set totalement magique,une amitié s’est crée. Plus tard le quartet d’ Eric est venu au duc avec Mabe, Joe, la musique était vraiment intense,j’étais totalement en osmose avec ce que j’entendais.

En novembre 2011 quand j’ai su que Harold venait avec joe farnsworth et john webber, je me suis dis qu’il fallait «enregistrer»!.....

Meeting With David Sauzay & Harold Mabern

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Marian McPartland - 2 albums: Bossa Nova + Soul / From This Moment On

Album: Bossa Nova + Soul
Bitrate: MP3@320K/s
Time: 31:17
Size: 71.6 MB
Styles: Bop, Bossa Nova, Piano jazz
Year: 1962/1990
Art: Front

[6:17] 1. Love For Sale
[4:08] 2. With You In Mind
[2:46] 3. Stranger In A Dream
[3:22] 4. Sweet And Lovely
[2:48] 5. Coming Home Baby
[2:32] 6. Tell Me
[3:32] 7. Green Dolphin Street
[2:49] 8. Straight No Chaser
[3:00] 9. Baby You Should Know

Marian McPartland, who is joined by bassist Ben Tucker and drummer Dave Bailey along with Ralph Dorsey and Bob Crowder on percussion, plays an above-average set of sophisticated bop-oriented jazz. She contributed three forgotten originals, jams on a few standards (including Tucker's hit "Comin' Home Baby") and plays an early Wurlitzer electric piano on three numbers. The music is pleasing if not all that memorable. ~Scott Yanow

Bossa Nova + Soul

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Album: From This Moment On
Bitrate: MP3@320K/s
Time: 38:04
Size: 87.2 MB
Styles: Bop, Piano jazz
Year: 1979/1992
Art: Front

[4:12] 1. From This Moment On
[5:25] 2. Emily
[4:28] 3. Sweet And Lovely
[5:43] 4. Ambiance
[3:27] 5. You And The Night And The Music
[3:30] 6. If You Could See Me Now
[3:50] 7. Lullaby Of The Leaves
[3:23] 8. No Greater Love
[4:01] 9. Polka Dots And Moonbeams

This is a relaxed and tasteful trio outing by pianist Marian McPartland, bassist Brian Torff and drummer Jake Hanna that has been reissued on CD. No surprises occur on the pianist's "Ambiance" or the eight standards and the music never really commands one's attention but the performances are pleasing, harmonically sophisticated and lightly swinging. ~Scott Yanow

From This Moment On

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Roberto Menescal - Jazz Zen

Bitrate: MP3@320K/s
Time: 40:49
Size: 93.5 MB
Styles: Brazilian jazz
Year: 2013
Art: Front

[2:29] 1. As Time Goes By
[3:45] 2. Tangerine
[3:09] 3. Someone To Watch Over Me
[3:29] 4. Makin' Whoopee
[3:05] 5. There Will Never Be Another You
[2:14] 6. Sophiscated Lady
[4:15] 7. Blue Moon
[3:40] 8. My Foolish Heart
[2:36] 9. All The Things You Are
[5:00] 10. The Shadow Of Your Smile
[4:03] 11. Bewitched
[3:00] 12. Body And Soul

The composer of bossa nova classics like "O Barquinho," "Ah, Se Eu Pudesse," "Errinho à Tôa," "Nós e o Mar," "Rio," "Você," and "Vagamente," Roberto Menescal started his professional career in 1957 as Sylvia Telles' sideman (on guitar) in a tour around Brazil. In 1958, he opened a guitar school in Copacabana (Rio) with Carlos Lyra, having as his pupils Nara Leão and his sister Danuza Leão. In the same year, he formed, with Luís Carlos Vinhas, João Mário, Henrique, and Bebeto, the Conjunto Roberto Menescal, one of the first instrumental groups of bossa nova. The group accompanied Dorival Caymmi, Vinícius de Moraes, Billy Blanco, Maysa, and Telles. Also in 1958, he participated, with Telles, Carlos Lyra, and other artists, in a show at the Clube Hebraica (Rio), when the words "bossa nova" were used (inadvertently, by the club's secretary) for the first time to advertise the event.

In 1985, having accompanied Nara Leão in performances in Brazil and abroad, he launched with her the LP Um Cantinho, Um Violão/Nara Leão e Roberto Menescal. In the next year, he abandoned his career in A&R and dedicated himself to his solo career. He has also been participating in jazz projects, among others with Joe Henderson. In 2001, he participated with Wanda Sá, Danilo Caymmi, and Marcos Valle in the Fare Festival (Pavia, Italy). Menescal also owns the label Albatroz, which released albums by Danilo Caymmi, Emílio Santiago, and others.

Jazz Zen

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Harry Allen & Joe Temperley - Cocktails For Two

Bitrate: MP3@320K/s

Time: 68:38

Size: 157.1 MB

Styles: Saxophone jazz

Year: 2007

Art: Front

[ 6:09] 1. Cocktails For Two

[ 5:37] 2. Blues In The Closet

[ 4:11] 3. My Romance

[10:07] 4. I've Got The World On A String

[ 8:04] 5. Tangerine

[ 5:31] 6. Everything Happens To Me

[ 5:29] 7. Polka Dots And Moonbeams

[ 6:52] 8. In A Mellotone

[ 9:53] 9. Sweet & Lovely

[ 6:40] 10. Jumpin' At The Woodside

Veteran baritone saxophonist Joe Temperley and tenorist Harry Allen share a live set at Sunnie Sutton's Rocky Mountain Jazz Party in the fall of 2006. They had previously played together two years earlier at the same event, so Sackville owner suggested a recording date the next time they appeared on the same bill. With Temperley choosing the songs, an outstanding rhythm section (pianist John Bunch, bassist Greg Cohen, and drummer Jake Hanna), the two reedmen complement one another very well in spite of their limited experience together. Many of the standards performed had fallen out of favor by the time of the show. Their sparkling take of "Cocktails for Two" proves this chestnut still has plenty of punch, while the driving interpretation of Oscar Pettiford's bop vehicle "Blues in the Closet" has Cohen reviving the nearly lost art of bass-slapping (à la Milt Hinton). Allen's solo feature is a lush treatment of the bittersweet "Everything Happens to Me," while Temperley offers a moving setting of "Polka Dots and Moonbeams." The elegant rendition of "My Romance" spotlights the rhythm section alone. Recommended. ~Ken Dryden

Cocktails For Two

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Gil Evans - The Complete Pacific Jazz Sessions

Styles: Post-Bop, Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 76:14
Size: 175,2 MB
Art: Front

(5:25)  1. St. Louis Blues
(6:48)  2. Straight No Chaser
(4:00)  3. Ballad Of The Sad Young Men
(2:49)  4. Joy Spring
(8:06)  5. Django
(4:48)  6. Chant Of The Weed
(6:46)  7. La Nevada (Theme)
(3:17)  8. King Porter Stomp
(4:40)  9. Willow Tree
(4:30) 10. Struttin' With Some Barbecue
(4:18) 11. Lester Leaps In
(4:08) 12. 'Round Midnight
(5:16) 13. Manteca
(6:52) 14. Bird Feathers
(4:24) 15. Davenport Blues

If Stan Kenton's ponderous Sophisticated Approach (1961) showed how little jazz it is possible to make with an orchestra the size of Texas, Gil Evans' The Complete Pacific Jazz Sessions shows how much more you can make with a lot less. The CD brings together two collections of brilliantly reimagined standards, New Bottle, Old Wine (1958) and Great Jazz Standards (1959), recorded when Evans was red-hot from two successes with Miles Davis, Miles Ahead and Porgy And Bess. Evans' signature brass choir is in place creatively voiced, spaciously arranged, a supple, multi-coloured, sonically surprising counterpoint to a succession of superb soloists. The added bonus, for Evans' projects, is the foregrounding of saxophone and clarinet soloists Cannonball Adderley on New Bottle, Old Wine and Steve Lacy and Budd Johnson on Great Jazz Standards. Trombonist Frank Rehak, tubaist Bill Barber and Evans himself all get to stretch out on New Bottle, Old Wine, but the album is practically an Adderley showcase (he too was newly hot in '58). He blows his stirring, circa-Somethin' Else stew of bop and soul, and it's good but Lacy and the original swing-to-bop missing link, Johnson, are the ones who will make the hair on your neck curl.

Lacy's solos on Monk's "Straight No Chaser" and John Lewis' "Django" must be some of the finest pre-free improvisations he recorded, already heading from quirky to out-there. Johnson's clarinet solo on Don Redman's spooky, swing-meets-whole tone classic, "Chant Of The Weed," and slow-burning, stirring tenor solo on Evans' "La Nevada" are some of the finest the all-but-forgotten genius ever recorded. (Both tracks appear here for the first time in their original unedited form, with missing passages restored, and the whole Great Jazz Standards set has been sympathetically remixed from a newly discovered three-track master tape.) Trumpeter Johnny Coles, featured on both albums, has the inevitable misfortune of being compared to Miles Davis and being found to be... different. Sunny, open and extroverted, he may not be a stylist of Davis' proportions, but he's an enjoyable alternative foil for Evans' arrangements. Two magnificent but neglected albums rolled into one, and still coming up fresh as daisies.~ Chris May  http://www.allaboutjazz.com/the-complete-pacific-jazz-sessions-gil-evans-blue-note-records-review-by-chris-may.php
 

Personnel: Tracks 1-8: Johnny Coles, Louis Mucci, Ernie Royal (1-3,5,6), Clyde Reasinger (4,7,8): trumpets; Frank Rehak, Joe Bennett: trombones; Tom Mitchell: bass trombone; Julius Watkins: French horn; Harvey Phillips (1,2,5,6), Bill Barber (3,4,7,8): tuba; Cannonball Adderley: alto saxophone; Gerald Sanfino (1,2,5,6), or Phil Bodner (3,4,7,8): piccolo, flute, bass clarinet, English horn; Chuck Wayne: guitar; Paul Chambers: bass; Philly Joe Jones (3), Art Blakey (all others): drums; Gil Evans: piano, arranger, conductor. Tracks 9,10,13: Johnny Coles, Louis Mucci, Allen Smith: trumpets; Bill Elton, Curtis Fuller: trombones; Dick Lieb: bass trombone; Bob Northern: French horn; Bill Barber: tuba; Steve Lacy: soprano saxophone; Al Block: flute, clarinet, bass clarinet; Chuck Wayne: guitar; Dick Carter: bass; Dennis Charles: drums; Gil Evans: piano, arranger, conductor. Tracks 11,12,14,15: Johnny Coles, Louis Mucci: trumpets; Jimmy Cleveland, Curtis Fuller: trombones; Rod Levitt: bass trombone; Earl Chapin: French horn; Bill Barber: tuba; Steve Lacy: soprano saxophone; Eddie Caine: alto saxophone; Budd Johnson: tenor saxophone, clarinet; Ray Crawford: guitar; Tommy Potter: bass; Elvin Jones: drums; Gil Evans: piano, arranger, conductor.

The Complete Pacific Jazz Sessions

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Ana Caram - Blue Bossa

Styles: Bossa Nova, Brazilian Jazz
Year: 2001
File: MP3@320K/s
Time: 47:16
Size: 108,6 MB
Art: Front

(4:22)  1. Desafinado
(4:45)  2. O Vento
(3:18)  3. Só Por Amor
(3:17)  4. Pura Luz
(4:28)  5. Blue Bossa
(3:28)  6. Triste
(4:04)  7. Corcovado
(3:54)  8. Só Tinha De Ser Com Você
(4:21)  9. Inútil Paisagem
(4:09) 10. Fly Me to the Moon
(4:20) 11. Anjo De Mim
(2:46) 12. The Telephone Song

Ana Caram is an excellent singer and guitarist of Brazilian music, but this set lacks any real surprises. She only plays guitar on one song, sticking to singing while being backed by a rhythm section and the saxophones of Paulo Levi. The selections all date from the 1960s (other than her original "Pura Luz") and Caram is mostly cast in the role of Astrud Gilberto, performing Jobim tunes (including "Desafinado," "Corcovado," and "Triste") and other tunes from the era, including "Blue Bossa," "Fly Me to the Moon," and Baden Powell's "So Por Amor." The results are pleasant but very predictable, with no real chances being taken nor any fresh light shone on the veteran warhorses. ~ Scott Yanow  http://www.allmusic.com/album/blue-bossa-mw0000591254

Personnel: Ana Caram (vocals); Nelson Faria (guitar); Paulo Levi (saxophone); Fender Rhodes (piano); Paulinho Braga (drums).

Blue Bossa

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Danny Grissett - Encounters

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 59:35
Size: 136,8 MB
Art: Front

(4:40)  1. Hopscotch
(7:39)  2. Waltz for Billy
(6:02)  3. A New Beginning
(5:54)  4. Encounters
(5:39)  5. Toy Tune
(9:07)  6. Sunrise
(7:46)  7. It Could Happen To You
(6:08)  8. Never Let Me Go
(6:37)  9. Git!

When I first heard pianist Danny Grissett a few years back and gave his debut album a favorable review, I anticipated that we'd be hearing more from the Los Angeles native. In fact, his star has been on the rise lately and he's a favorite accompanist to a growing body of leaders including a cache of trumpeters that includes Jim Rotondi, Jeremy Pelt, and Tom Harrell. Now, he returns to Criss Cross for his sophomore release and again fronts a trio that includes bassist Vicente Archer and drummer Kendrick Scott. A sparkling pianist as well as a fine budding composer, Grissett ups the ante on this varied set of compositions. The clarion call of "Hopscotch" gets things underway with a bristling solo from Grissett and closes by trading fours with Scott, a superbly inventive drummer who has good ideas and a crisp sound and attack. Penned for Billy Higgins, "Waltz for Billy" is a moving threnody for the late drummer and it shows Grissett to be as convincing a balladeer as he is an up-tempo swinger. "A New Beginning" and the title track are notable for establishing a mood before changing up the tempos to allow for some of Grissett's best playing of the date. The other originals include "Sunrise," a gentle number in a reflective mood, and "Git!," a funk-based tune that finds Grissett exploring Silverish roots with great results. 

Three standards round out the program, with Wayne Shorter's "Toy Tune" being a sagacious choice for examination by this trio. The longest track on the date, "It Could Happen to You," evolves slowly during Grissett's rubato opening. Then, Scott sets a pulse with his brushes while the intensity builds. Talk about telling a story; these guys do so in abundance. Avoiding the urge to switch to double time, Grissett turns the lamp down low for "Never Let Me Go," contributing another of the album's fine ballad performances. Grissett's ability to adapt to any situation and speak convincingly at any tempo is put on full display for Encounters. It's no wonder that he's become a first-call musician on the current scene. ~ C.Andrew Hovan  http://www.allaboutjazz.com/encounters-danny-grissett-criss-cross-review-by-c-andrew-hovan.php
 

Personnel: Danny Grissett: piano; Vicente Archer: bass; Kendrick Scott: drums.

Encounters

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Mz. Dee - Real Woman, Real Soul

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 58:37
Size: 134,7 MB
Art: Front

(4:11)  1. Method to My Madness
(5:58)  2. Summertime
(4:13)  3. Comet
(4:48)  4. Breezes Blow
(4:36)  5. Candy
(2:32)  6. Fly Me To The Moon
(3:22)  7. You're Nobody Till Somebody Loves You
(2:58)  8. You've Got What It Takes
(6:34)  9. Drowning In The Mainstream
(3:53) 10. I've Got What You Need
(4:29) 11. If I Only Had One Friend
(4:33) 12. Shakey Ground
(6:25) 13. God Bless The Child

Oakland born, Mz Dee has lived all over the East Bay, from the hills of Berkeley to her favorite home, a houseboat floating upon the Oakland/Alameda Riviera. As a youngster, she was extremely shy and withdrawn, yet often dreamed of being on stages around the world, performing her favorite songs. Overcoming her shyness, Little Dee would entertain the neighborhood children in the family garage by putting on a one woman show. From this early beginning, Mz Dee developed a burning desire to pursue her art, and the passion to share her music. Over the past 15 years that Mz. Dee has been blessed with the opportunity to sing with some of the best musicians anywhere, performing in many of the great venues both here in the S. F. Bay Area and internationally, most recently at the Umbria Summer Jazz Festival.

Mz Dee shows both her performing and writing skills on her recently released debut CD, Real Woman, Real Soul. a journey through the worlds of Blues, Funk, R&B and Jazz. The songs spring from many diverse origins including everyone from the renowned Etta James, the poignant "If I only had one friend of Ira Walker, to originals from Mz. Dee's own book of poetry.

Over the years, Mz. Dee has played with many great musicians. Below is a list of some of the greatest with whom she has played, learned from, and who she wishes to honor. Above all others, Mz. Dee puts her mother, Rochon Hemmans, noted as one of the Bay Area's top church organists and arrangers, as her first influence and greatest inspiration in the music world. She is not only Mz. Dee's first mentor but her greatest fan, yet still a mother first of all. Mz. Dee remembers sitting on her lap while she directed and sang with the church choir, laughing as she recall: "She also threw a pretty good hymn book at us from the throne of the organ pit if we acted up in church.." 

Also a noted vocalist, Mz Dee relates how her mother's "....voice would, and still can, fill the church with love, and assurance that there is a God. Only God could bless such a voice to put the good news into song." http://www.cduniverse.com/productinfo.asp?pid=7210707&style=music&fulldesc=T

Real Woman, Real Soul

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