Ron Levy's Wild Kingdom - Finding My Way

Bitrate: MP3@320K/s
Time: 58:53
Size: 134.8 MB
Styles: Jam bands, Soul-jazz
Year: 2003
Art: Front

[7:54] 1. I Try & I Try
[7:20] 2. Best Cookies
[8:12] 3. Steady Like Freddy
[5:51] 4. The Wes Side
[6:13] 5. Exfiled
[6:41] 6. Cuch Cuch
[7:00] 7. Some Sorta Blue
[5:26] 8. Finding My Way
[4:11] 9. Spangled Star Boogaloo

On Finding My Way, organ and piano boss Ron Levy tries to mix up the groove gumbo by incorporating more loops and programmed beats, but also by bringing back the great Melvin Sparks on guitar, and adding the flute and saxophone talents of jazzed-out funkmaster Karl Denson to the mix. Largely, it works. While Levy doesn't seem to be interested in sung beats for any reason other than to hang solos on, he nonetheless gets enough mileage from them and keeping the riffs in the pocket to keep them sailing all the way through. There is plenty of jazz virtuosity, as evidenced by the title cut, "Steady Like Freddy," "I Try & I Try," and "The West Side"; there is plenty of good-time funky stuff, as well, such as "Some Sorta Blue," and "Cuch Cuch." This band knows when to spark it up, and when to lay back, and Levy proved a long time ago that he was a solid bandleader who got fine performances from his sidemen. Recommended. ~Thom Jurek

Finding My Way

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Wave Mechanics Union - Further To Fly

Bitrate: MP3@320K/s
Time: 66:06
Size: 151.3 MB
Styles: Jazz-rock-prog
Year: 2012
Art: Front

[6:13] 1. Further To Fly
[5:56] 2. Selfless, Cold And Composed
[2:58] 3. Caramel
[4:33] 4. Wondrous Stories
[4:11] 5. Heartbeat
[5:06] 6. It Will Be A Good Day
[4:33] 7. The Ability To Swing
[5:02] 8. Think Of Me With Kindness
[4:12] 9. Swordfishtrombone
[4:41] 10. Third Stone From The Sun
[5:06] 11. Slow Like Honey
[4:48] 12. Your Latest Trick
[3:22] 13. Dirty Work
[5:18] 14. The Show Must Go On

Lydia McAdams: vocals; Jon Anderson: vocals (4, 6); Eddie Rich: flute, alto flute; Kara Moran: flute, alto flute; Theena Lewis-Strope: flute, alto flute; Neil Broeker: flute, alto flute; Shawn Goodman: clarinet, bass clarinet; Henry Koperski: bassoon, accordion; Sylvain Carton: saxophone, guitar; Josh Weirich: saxophone; Dave Helms: saxophone; Eddie Rich: saxophone; Dorothy McDonald: saxophone; Robert Olivera: saxophone; Alex Noppe: trumpet, flugelhorn; Jeff Anderson: trumpet, flugelhorn; Ryan Fraley: trombone; Tom Thomas: tuba; Justin Kessler: piano; Art DeQuasie: piano (14); Robert Stright: vibraphone; Chris Capitano: guitar; Lyman Medeiros: bass; Ralph Johnson: bass (1), drums, percussion; Tim Moore: drums, percussion (6); Steve Goodman: violin; Alice Demby: viola; Marjorie Hanna: cello.

Rock music has been mined to the nth degree by jazz prospectors. Trumpeter Miles Davis was doing Michael Jackson and Cyndi Lauper: Memphis Blues Tour a quarter century back; pianist Brad Mehldau has made Radiohead his own; jazz legend Herbie Hancock spoke of new standards by Peter Gabriel and Nirvana; and organ guru Dr. Lonnie Smith has delivered a whole platter of pleasing Beck songs. All of this might lead to the assumption that every rock vein has been stripped clean, but with Further to Fly, Wave Mechanics Union mines one or two that still contain precious ore.

This 30-piece unit, put together by a group of arrangers who wanted to write for themselves for a change, was born in 2004 under a progressive rock-turned-jazz banner. As time went by, the group continued to work in this arena, but evolved and expanded its repertoire to include music from other rock genres and sub-genres. Wave Mechanics Union's debut, Second Season (HXmusic, 2008), still spoke of progressive interests, with King Crimson, Yes, and Rush songs making the cut, but also included some classic rock fan favorites like The Who's "Won't Get Fooled Again" and The Beatles' "Eleanor Rigby." Further To Fly goes even further afield.

For its sophomore album, Wave Mechanics Union decided to keep some favorites like King Crimson and Yes in the mix, but puts a greater emphasis on '80s and '90s entries of all stripes and colors. The album touches on jazz friendly songwriters like Ben Folds, Paul Simon and Tom Waits, as well as art-rocking strangers to jazz like Queen ("The Show Must Go On"). The group even brings Suzanne Vega and Fiona Apple into the picture.

Drummer Ralph Johnson, trombonist Ryan Fraley, pianist Justin Kessler and singer Lydia McAdams refashion all of this music and they do an impeccable job on their respective contributions. "The Show Must Go On" is a transitioning wonder, with piano, accordion, strings and a flat-out rock sound at work at various times. Vibes, bass and voice mingle with winning results on Waits' "Swordfishtrombone," Vega's "Caramel" benefits from some sly low brass backgrounds and a walking bass line, and "Selfless, Cold, And Composed" comes to life as a vibrant jazz waltz.

Instrumental soloists come and go, but McAdams' vocals are the focal point on the majority of the material. She does a commendable job selling the songs in their new yet familiar packages. Former Yes vocalist Jon Anderson drops in to help out on two of that famed band's tunes, but his role is minimal in the album's grand scheme. The arrangers are the real stars here, as they use their large cast of players to create a well-polished end product. ~Dan Bilawsky

Further To Fly

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Kathy Tugman & The David Walters Quartet - Robin On The Frost

Bitrate: MP3@320K/s
Time: 68:04
Size: 155.8 MB
Styles: Vocal jazz
Year: 2011
Art: Front

[4:42] 1. Silver Liner To Rio
[3:53] 2. I Love Being Here With You
[4:59] 3. The Thought Just Hit Me
[5:18] 4. Not This Time
[3:54] 5. What Are You Doing The Rest Of Your Life
[8:42] 6. I Feel The Earth Move
[6:46] 7. My Foolish Heart
[7:54] 8. Things We Said Today
[4:03] 9. Robin On The Frost
[4:51] 10. Who Are You
[3:01] 11. There Will Never Be Another You
[6:42] 12. Redemption Blues
[3:11] 13. Days

Kathy Tugman's first album in seven years is at last out and the wait was certainly worth it. "Robin on the Frost" is a collection of seven covers and six originals and is meant to be representative of a set played by this working band. Kathy and the David Walters Quartet have been playing regularly since the release of their last album, "Almost Off the Dial" in 2004. That togetherness allows the band to tackle this set of tunes, which range in style from jazz standards to blues to familiar and not-so-familiar pop tunes, giving all of the music that somethiing that makes it jazz. Check out the cooking remakes of Carole King's "I Feel the Earth Move" and the Beatles' "Things We Said Today." Then there is the heart-breaking beauty of great ballads like "My Foolish Heart" and "What Are You Doing the Rest of Your Life?" The band swings hard through "I Love Being Here With You" and then waltzes and swings "There Will Never Be Another You."

Clicking nicely with those wonderful songs are six originals that themselves touch on swing, Latin, blues, the ballad and straight-ahead pop. Thematically, the album traces what Paul Simon once called "the arc of a love affair," moving from the excitement of love found, to the salad days of a relationship, to the dawning realization that the affair may be ending, to regret and woe at lost love, to a final acceptance of the end, and even gratitude for what was had and is now lost. This last comes through in touching revival of a Ray Davies tune from the Sixties - "Days."

Kathy and the band play six sets over two nights each month at a jazz club and have done so for five years. As was said earlier, this is a working band and this new album is a work of love and art, but always with the feel of jazz. After all, our motto, often repeated, is "Jazz is the best, but live jazz is better." This record - recorded in a studio, but mostly live in the studio - is a fine sampling of just how true that motto is.

Robin On The Frost

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Jimmy McGriff - Featuring Hank Crawford

Bitrate: MP3@320K/s
Time: 62:35
Size: 143.3 MB
Styles: Hard bop, Jazz-funk
Year: 1978/1990
Art: Front

[6:29] 1. Dust Pan
[6:49] 2. Playland
[6:06] 3. Tapoica
[5:22] 4. Midnight Boogie
[6:34] 5. Walkin Willie
[9:19] 6. Courage
[7:23] 7. Loot To Boot
[4:54] 8. How Long
[2:44] 9. Let's Stay Together
[3:09] 10. The Bird
[3:40] 11. Ain't It Funky Now

Alto man Hank Crawford and organist Jimmy McGriff are made for each other. Mixing the right brew of blues, swing and funk, they compliment one another's soulful sound in distinctive style.

Featuring Hank Crawford

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Chris Cortez - Mum Is The Word

Bitrate: MP3@320K/s
Time: 45:08
Size: 103.3 MB
Styles: Guitar jazz, Contemporary jazz
Year: 2004
Art: Front

[3:17] 1. My Way Is Better
[3:21] 2. Everyday I Have The Blues
[5:12] 3. Georgia On My Mind
[2:59] 4. Bad Attitude
[2:52] 5. Sweet Georgia Brown
[5:43] 6. Honeysuckle Rose
[4:06] 7. Manha De Carnaval
[3:04] 8. Mum Is The Word
[5:10] 9. Trouble With Larry
[2:35] 10. Rhythm Method Blues
[3:43] 11. Lazy River
[3:00] 12. Avalon

Chris Cortez (acoustic guitar), Sam Bruton (piano), Larry Panella (tenor sax, alto sax, flute), Humphrey Davis Jr. (tenor sax, vocals), John Brinson (organ), John Reid (fluegel horn), Billy Bargetzi (trombone), Edwin Livingston (bass), James Singleton (bass), John Wooton (percussion), Jeff Mills (drums).

More often than not, when a musician tries to explore many different elements on a single disc – jazz, blues, vocals, instrumentals, varying personnel, etc. – the result is an album that is uneven and lacking any real cohesiveness. However, on “Mum Is The Word,” guitarist Chris Cortez attempts to do exactly that and succeeds, in spades, on every level.

Altogether, there are 11 musicians that make appearances on this album, with songs that run the gamut from sambas to blues to bebop and yet it consistently has a warm, uniformly ‘small group’ feel about it. The first thing I have to say about Chris Cortez is that he is a phenomenal guitar player – whether he’s playing straight-ahead jazz, Latin or gut bucket blues, he does it at an extremely high level and at the same time in a manner that makes it sound totally relaxed and natural. He has a fantastic feel and sense of rhythm, with a gorgeous tone. Many times, when a player switches styles on an album like this, it is very apparent which style they are most comfortable with, but Cortez seems equally at home in all settings.

I often cringe at the thought of a great jazz instrumentalist actually singing on an album. So many recordings (and concerts) have, to my ears, been marred by someone thinking that just because they are a great sax or guitar player that they must surely be a great vocalist as well. Many of them are sadly mistaken. But Cortez again proves to be the exception to the rule! He is as naturally gifted a singer as he is as a guitarist, with a beautiful voice that is especially suited for the blues (as he proves here with his rendition of “Everyday I Have The Blues”.) As if all these talents weren’t enough, Cortez proves to also be a masterful songwriter and arranger, as well as a great producer and engineer. This album features five of his originals (along with seven standards) and was completely produced and engineered by Cortez. It’s amazing that one person can wear so many hats and wear them all so well. ~from the artist's site

Mum Is The Word

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Nina Simone - The Amazing Nina Simone

Bitrate: MP3@320K/s
Time: 39:01
Size: 89.3 MB
Styles: Standards, Vocal jazz
Year: 1959/2007
Art: Front

[3:19] 1. Blue Prelude
[7:45] 2. Children Go Where I Send You
[2:59] 3. Tomorrow (We Will Meet Once More)
[2:08] 4. Stompin' At The Savoy
[3:53] 5. It Might As Well Be Spring
[2:10] 6. You've Been Gone Too Long
[2:29] 7. That's Him Over There
[2:41] 8. Chilly Winds Don't Blow
[2:28] 9. Theme From Middle Of The Night
[2:31] 10. Can't Get Out Of This Mood
[3:11] 11. Willow Weep For Me
[3:22] 12. Solitaire

There is a remarkable amount of variety on this disc, Nina Simone's second recording. Her repertoire ranges from a swinging "Stompin' at the Savoy" and an emotional "It Might as Well Be Spring" to an English folk ballad ("Tomorrow"), spirituals, an R&B song ("You've Been Gone Too Long") and the theme song from the movie Middle of the Night. Somehow Simone brings credibility to each of these very different songs. She does not play much piano (just cameos on two songs) and is backed by a subtle orchestra arranged by Bob Mersey that is effective accompanying her vocals. This session finds Nina Simone's voice in top form and with a few exceptions is generally jazz-oriented. ~Scott Yanow

The Amazing Nina Simone

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Sam 'The Man' Taylor - Jazz For Commuters / Salute To The Saxes

Bitrate: MP3@320K/s
Time: 66:37
Size: 152.5 MB
Styles: Saxophone jazz, swing
Year: 2011
Art: Front

[4:19] 1. All Too Soon
[3:03] 2. Westchester Waltz
[4:10] 3. Lester Leaps In
[2:34] 4. Ride, Sammy, Ride
[3:51] 5. Body And Soul
[8:29] 6. Long Island Railroad Blues
[5:01] 7. Bucks County Bounce
[2:48] 8. Do-A-Lu
[2:32] 9. Taylor Made
[3:40] 10. Rockland County Round Trip
[2:29] 11. Cloudburst
[2:46] 12. The Big Beat
[6:30] 13. Air Mail Special
[2:27] 14. Rood Runner
[2:29] 15. Sam's Blues
[3:11] 16. Westport Wail
[2:38] 17. Look Out
[3:31] 18. Flyin' Home

All sessions recorded in New York. The album tracks were recorded on October 15 & 22, 1958. The Bonus tracks (tracks 11-18) came from different sessions cut between March, 1955 and June, 1956. Charlie Shavers, Thad Jones (tp), Frank Rehak, Jimmy Cleveland (tb), Sam “The Man” Taylor, Georgie Auld (ts), Budd Johnson (ts, bars), Haywood Henry (bs), Hank Jones (p), Barry Galbraith, Billy Bauer (g), Milt Hinton (b), Panama Francis (d).

Sam “The Man” Taylor is a saxophonist as adept at swinging jazz as he is at the blues and R&B for which he is most famous. With his unending drive and energy, he stood out in the bands he was in, including those of Cootie Williams, Cab Calloway and others. During the 50s he spent much of his time playing R&B sessions, but he also performed and recorded often with his own combo and, ten years later, he achieved wide recognition in Japan thanks to his ballads. This CD, however, resents an exultant Taylor, deeply rooted in the most genuine jazz, during a swinging 1958 session with great jazzmen like Charlie Shavers, Georgie Auld, Budd Johnson and Hank Jones. As a bonus, there is an example of his more “rocking” side, fronting a group that exudes Taylor’s typically soulful essence.

Jazz For Commuters/Salute To The Saxes

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Sophia Shorai With Tommy Barbarella - Long As You're Living

Styles: Vocal And Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 50:54
Size: 117,8 MB
Art: Front

(3:29)  1. Long As You're Living
(5:25)  2. Black Coffee
(3:44)  3. Brother, Can You Spare A Dime
(4:53)  4. You Don't Know What Love Is
(3:19)  5. Old Devil Moon
(4:17)  6. Everybody Knows
(3:50)  7. In The Wee Small Hours
(4:53)  8. Hellhound On My Trail
(3:40)  9. I'm So Lonesome I Could Cry
(4:14) 10. Big Brother
(4:21) 11. Peace
(4:45) 12. Waters Of March

What is most exciting about the new crop of singers coming onto the scene is the abundant joy present in much of their work. They're happy to be singing; they're happy to do what their idols and mentors do; they're happy to be sharing their gift. One listen to singer Sophia Shorai's Long as You're Living and the prominence of her enthusiasm is hard to ignore. Featuring twelve jazz and contemporary music covers, and accompanied by pianist Tommy Barbarella, Shorai's project represents the best of what music is all about: good music made by artists who clearly believe in their product.

Long as You're Living is a great display of "do what you love and everything will fall into place." Shorai's voice is sweet and light, while Barbarella best known for his work with Prince and the New Power Generation brings an energy that makes Shorai soar. Shorai is clearly eager to put her own spin on the lyrics, a goal that Barbarella helps the singer accomplish, as long as he's allowed to shine in the process; the two sounding good together, which benefits the music. With themes of love, politics, and social responsibility spread throughout the recording, the standout tracks include the title track, along with "Black Coffee," "You Don't Know What Love Is," "Everybody Knows," "In the Wee Small Hours," and "Big Brother." 

A testament to the good music coming out of Minneapolis, it won't be long before Shorai extends beyond her local setting and becomes a regular fixture all over the air waves. 

~ Bridget A.Arnwine  http://www.allaboutjazz.com/long-as-youre-living-self-produced-review-by-bridget-a-arnwine.php

Personnel: Sophia Shorai: vocals; Tommy Barbarella: piano.

Long As You're Living

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Dave Pell Octet - Young & Healthy

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 35:52
Size: 83,6 MB
Art: Front

(3:20)  1. Look Who's Dancing
(3:07)  2. East of the Sun
(2:53)  3. You
(3:21)  4. Young and Healthy
(2:34)  5. The Continental
(2:41)  6. Dance for Daddy
(3:02)  7. When I Take My Sugar to Tea
(2:46)  8. If I Had You
(2:55)  9. Cheek to Cheek
(3:10) 10. Let's Face the Music and Dance
(2:57) 11. Prom to Prom
(2:59) 12. Walkin' My Baby Back Home

Dave Pell's behind-the-scenes career may be more familiar to space age pop fans than his own accomplishments as a performer. As head of artists and repertory (A&R) for Liberty Records and United Artists in the 1960s, Pell produced many of the best-known albums by Martin Denny, Si Zentner, the Ventures, Trombones Unlimited, and others. But Pell started as a working musician in the heyday of the big bands. He joined Tony Pastor's band in 1944, spent two years working with Bob Crosby's Bobcats, then moved to Los Angeles and joined Les Brown's new "Band of Renown" group in 1947. As a tenor sax player, Pell became one of the stars of the Brown band, and he remained with them until 1955. He then formed his own group, the Dave Pell Octet, along with trumpeter Don Fagerquist, and adopted a lighter style, very much in the spirit of the West Coast jazz movement. Pell hired some of the best arranging talents available, including Marty Paich, Shorty Rogers, Jerry Fielding, and Bill Holman, and the group's albums sold well. Some critics panned the group as "middlebrow jazz" and Pell himself once referred to it as "mortgage-paying jazz," but its tight ensemble recordings have become highly collectable.

Pell also recorded a series of albums with a larger band, performing in the style of the most famous names from the big band era, for a small budget label he owned called PRI. Several years later, he cashed in on the percussion album craze by hiring drummer Frankie Capp to overdub percussion parts on these recordings and released them as Percussion in a Tribute to ... on Kimberley Records, another label he started. Like many West Coast jazz musicians, Pell moved to the security of studio work as the interest and market for live jazz waned. He joined the staff of Liberty Records and soon became a major contributor. He worked hard on both the technical and musical sides, improving Liberty's studio processes and working to develop its roster of artists. He often collaborated with producer Snuff Garrett and arranger Bob Florence, cultivating both pop and rock artists. He was the first to record singer Vicki Carr, fresh out of stint as a girl singer in Ray Anthony's road show, and produced her first 11 albums, including It Must Be Him, which sold over a million copies. Pell released three albums under his own name on Liberty. The first two, in 1963, featured Florence's arrangements for small combo and jazz chorus. The last, released in 1969, is now a great favorite of soft pop/easy tempo fans, with terrific versions of Piero Umiliani's dippy classic, "Mah-Na, Mah-Na," the Electric Indians' "Kemo Sabe," and the title tune from the nude musical, "Oh, Calcutta."

After Liberty was ingested by United Artists, Pell became creative director for Motown Records, where he hired the Commodores and helped the label through its challenging transition from Detroit to Los Angeles, and from the "Motown sound" to 70s soul and disco. He worked with Garrett again in the 1980s, heading Garrett's Viva label, which had some of the hotter country artists of the period in Shelly West and David Frizzell, and running a music publishing conglomerate that encompassed over 30 different companies. He joined up with another West Coast jazz vet, Lennie Niehaus, and handled the soundtrack recordings for a number of Clint Eastwood and Burt Reynolds films, including "Sudden Impact" and "Sharkey's Machine" (which included the last known recording by former Liberty cover girl Julie London). He also founded Headfirst, a pioneering digital recording label. Bio ~ http://www.davepell.com/about.html

Young & Healthy

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Bobby Broom - Plays For Monk

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 56:48
Size: 130,4 MB
Art: Front

(5:15)  1. Ask Me Now
(4:18)  2. Evidence
(5:41)  3. Ruby, My Dear
(5:53)  4. In Walked Bud
(5:55)  5. Lulu's Back in Town
(6:09)  6. Reflections
(7:08)  7. Work
(4:57)  8. Rhythm-A-Ning
(6:28)  9. Bemsha Swing
(5:01) 10. Smoke Gets In Your Eyes

Chicago-based guitarist Bobby Broom pays tribute to jazz icon Thelonious Monk on Plays For Monk, a fresh take on eight of the late pianist's compositions, along with a couple of standards associated with Monk's repertoire. Joining Broom for his third release on Seattle's Origin Records are his long time trio mates, bassist Dennis Carroll and drummer Kobie Watkins. Broom does a tremendous job navigating Monk's music in a bare-bones guitar trio setting. His horn-like approach to soloing, relying heavily on single-note runs, gives the trio a stripped-down sound, recalling the piano-less trio recordings of saxophonist Sonny Rollins, whom Broom has been performing with for years. The open space allows for a rich dialogue, especially between Broom and Watkins. Watkins' intense swing on the up-tempo "Evidence" pushes the guitarist to inspired creativity. Broom incorporates lush chord-melody arrangements on Monk's classic ballads "Ask Me Now" and "Ruby, My Dear" and the jam session staple "Rhythm-a-ning."

Harry Warren's "Lulu's Back in Town" and Monk's "Bemsha Swing" swing with the kind of soulful vibe Broom is known for with his popular Chicago group the Deep Blue Organ Trio. "Bemsha Swing" features a rollicking bass solo by Carroll and a spirited back-and-forth between Broom and Watkins. The disc closes with a solo guitar rendition of Jerome Kern's "Smoke Gets in Your Eyes," a standard that Monk recorded as a solo piece. Broom's rendition is poignant and honest much like the rest of the disc. Plays for Monk is a stunning addition to Broom's recorded output and speaks to the potential of the guitar trio in modern-day jazz. ~ John Barron  http://www.allaboutjazz.com/plays-for-monk-bobby-broom-origin-records-review-by-john-barron.php

Personnel: Bobby Broom: guitar; Dennis Carroll: bass; Kobie Watkins: drums.

Plays For Monk

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Bobby Caldwell - Bobby Caldwell Croons Big Band Hits & Standards

Styles: Jazz, Vocal
Year: 2012
File: MP3@320K/s
Time: 68:51
Size: 158,2 MB
Art: Front

(2:54)  1. (Love Is) the Tender Trap
(3:25)  2. Beyond the Sea
(1:59)  3. I've Got the World On a String
(2:24)  4. Girl I Dream About
(2:21)  5. All Of Me
(2:56)  6. Day In Day Out
(3:35)  7. Old Devil Moon
(3:42)  8. I Get A Kick Out Of You
(3:55)  9. Only the Lonely
(3:25) 10. April Moon
(3:16) 11. Best Is Yet To Come
(4:04) 12. Stuck on You
(4:41) 13. Come Rain Or Come Shine
(3:30) 14. Tomorrow
(5:00) 15. Luck Be A Lady
(3:25) 16. (I've Got You) Under My Skin
(2:50) 17. Oh (You've Got It Made)
(3:29) 18. Young at Heart
(3:38) 19. Smile
(4:12) 20. Guess I'll Hang My Tears Out to Dry

Contemporary jazz singer/guitarist Bobby Caldwell was born August 15, 1951, in Manhattan, NY; his parents, Bob and Carolyn, were the hosts of the television variety show Suppertime and exposed the child to a wide variety of musical influences. Caldwell began studying piano and guitar at age 12; he initially pursued a career in rock & roll but was equally adept at playing jazz and R&B and at 17 took his band on the road to play the Las Vegas circuit. From there the group moved on to Los Angeles, but despite recording an album titled Kathmandu, Caldwell enjoyed little success and eventually returned to his parents home in Miami. 

There he began work on his 1978 breakthrough album What You Won't Do for Love, scoring a hit single with the title cut. Efforts including a 1979 self-titled LP, The Cat in the Hat, and Carry On followed, and although Caldwell enjoyed a strong following at home, he became a superstar in Japan. He shifted creative gears with 1996's Blue Condition, a collection of big band-era standards; the similarly themed Come Rain or Come Shine followed three years later. ~ Bio  https://itunes.apple.com/us/artist/bobby-caldwell/id1009920#fullText

Bobby Caldwell Croons Big Band Hits & Standards

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The Tim Cummiskey Trio - Redeeming Time

Size: 139,6 MB
Time: 60:14
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz: Traditional Jazz Combo, Hammond B3
Art: Front

01. Unit 7 (7:12)
02. Darn That Dream (7:22)
03. Black Nile (5:03)
04. Hank's Riff (6:09)
05. How Insensitive (4:53)
06. Inner Urge (5:52)
07. Invitation (6:18)
08. Time Remembered (5:05)
09. This I Dig Of You (5:34)
10. Fever Dream (6:42)

Just in case Tim Cummiskey is mistakenly described as an "up and coming" jazz guitarist, let the level of playing revealed on this CD serve as living testimony that this artist has already "arrived" The Tim Cummiskey Trio assembled for this project puts Tim in fine company, with Columbus legend Hank Marr on organ and drummer Jim Rupp, an alumnus of the Woody Herman, Maynard Ferguson, and Glenn Miller Orchesstras. While Tim Cummiskey has appeared on numerous recordings as a sideman, Redeeming The Time is his second recording as the leader.

The guitar's place in the history of jazz has been both interesting and peculiar. Unlike woodwind and brass instruments that played a prominent role in the development of jazz styles in every major era, the guitar did not become a major jazz voice in the field until the jazz-rock or fusion manifestations of the late 1960s and 1970s. And although the guitar found relatively quick acceptance as a rhythm instrument, it was slower to develop as a solo vehicle. Thanks to Django Reinhardt and Charlie Christian in the modern era and on through the pantheon of great guitarists in the postbop period from Wes Montgomery to your favorite at this time, the guitar has given notice and history informs us that the instrument is a voice in the genre of jazz that takes a back seat to no other instrument. Indeed the guitar's role-playing as both a comping and a solo instrument provides a unique opportunity for boundless creative expression.

Upon listening to Tim Cummiskey's Redeeming The Time, one hears the work of a fertile mind that offers boundless creative expression. And I don't just mean heady, cerebral playing, but playing that comes from the heart, as well, with lots of musical sensitivity and imagination. Cummiskey's choice of tunes for this CD reveals his respect and love for the compositions of music masters like Wayne Shorter, Joe Henderson, Bill Evans, Antonio Carlos Jobim, Sam Jones, Hank Mobley, and Lee Morgan, along with Jimmy Van Huesen and Bronslau Kaper. Additionally he includes one of his own compositions and another cowritten with Hank Marr. Tim Cummiskey proves my adage that jazz music is really about rhythm.

If you enjoy swing, you will marvel at the groove set down in Unit 7 or Invitation, two of my favorites. Cummiskey wastes no time in showing you that he has chops galore. While modern stylists since Charlie Parker typically have utilized the double-time figure in their improvisations, Cummiskey's use of double-time figures occurs at any point of the bar. At times they go over the bar, and often are grouped in four, but often appear in triplet, too. The beauty of Cummiskey's rhythms is that they come at you at a virtuosic machine-gun pace that makes you say wow! Sometimes the juxtapositioning of his rapid-fire rhythms create surprise and tension, but they get properly resolved, and besides, he can do all of this and still swing. Listen to the vamp ending of Black Nile, and see for yourself.

If you like the blues, then check out Hank's Riff. Here Cummiskey understands the blues as primary language and reveals his affection for earthy, soulful playing. Of course, with Hank Marr on organ, there is plenty of groove and grease in this kitchen. When Leroi Jones (Amira Baraka) published his seminal work, Blues People, in 1963, he surely must have had Hank Marr in mind, and both Cummiskey and Rupp add their special ingredients to the mix.

Other important aspects of this recording are the rich harmonic vocabulary and beautiful melodic renditions evidenced by Cummiskey in the more relaxed tunes of this session. All guitarists and pianists love Jobim for his beautiful and exquisite harmonies and melodies. Cummiskey's choice of How Insensitive discloses some of his most sensitive playing. The gentle side of Cummiskey comes through in Jobim's pretty, Latin-flavored tune that provides a wonderful template for yet another beautiful and creative ride from Cummiskey.

The ballad Darn That Dream, Bill Evan's Time Remembered, along with Cummiskey's own Fever Dream provide us with more tenderness and introspection. Improvisation is the hallmark and defining essence of creativity in the jazz tradition. Whether listening to Inner Urge or This I Dig Of You, or any of the ten tunes featured on Redeeming The Time, one will be impressed with the improvising prowess of Tim Cummiskey. Sit back, relax and enjoy, and redeem your time listening to the artistry of Tim Cummiskey, jazz guitarist.

Redeeming Time

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Dan Brubeck Quartet - Celebrating The Music And Lyrics Of Dave & Iola Brubeck

Size: 208 MB
Time: 86:21
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

CD 1:
01. In Your Own Sweet Way ( 6:13)
02. Since Love Had Its Way ( 6:02)
03. Summer Song ( 6:01)
04. It's A Raggy Waltz ( 2:39)
05. Autumn In Our Town ( 4:09)
06. Lord, Lord ( 6:11)
07. Ode To A Cowboy ( 4:10)
08. Blue Rondo A La Turk ( 6:04)

CD 2:
01. Strange Meadowlark ( 7:04)
02. The Desert And The Parched Land ( 6:35)
03. For Iola ( 7:26)
04. The Duke ( 4:29)
05. Weep No More ( 5:08)
06. Take Five (14:08)

The Dan Brubeck Quartet’s two-disc set casts a penetrating light on a brilliant but little-known chapter in the creative alliance between Dave and Iola Brubeck that transformed the way jazz is presented and perceived. Essential for Brubeck fans and an invaluable resource for American Songbook aficionados looking for fresh material, Celebrating… is a strong candidate for jazz vocal album of the year.

Dan, the second youngest of the Dave and Iola’s six children, has long wanted to explore some of the songs and lyrics that his parents collaborated on over the years. The opportunity recently arose with some of the finest jazz players in the Vancouver, Canada, including saxophonist Steve Kaldestad, pianist Tony Foster, and bassist/vocalist Adam Thomas.

In the midst of the Quartet's exceptional talent, Thomas is one of the project’s most delightful revelations. A startlingly soulful singer who puts a personal stamp on a wide array of material, he delivers an impressive vocal debut. Fittingly, “Sweet Way” is the track that opens the album, and like many of the pieces that follow, Iola wrote the lyrics specifically for a jazz legend (Carmen McRae). Iola, who died last year at the age of 90, wrote incisive insider commentary about the songs for album’s liner notes. Dave Brubeck passed in 2012 at the age of 91.

Thomas’s most impressive feat is the easygoing authority he brings to interpreting songs the Brubecks created with Louis Armstrong in mind. He swings joyfully on “Since Love Had Its Way,” and wrings every wistful drop from the masterpiece “Summer Song,” an intoxicating draught of song that has unaccountably remained uncovered until this year (both songs were introduced by Satchmo in the Brubecks’ politically astute jazz musical The Real Ambassadors). Adding to the aching poignancy of “Summer Song” is the fact that the chorus serves as Dave and Iola’s epitaph.

"Celebrating…" is more than an act of filial love. It’s a brilliantly realized statement about the capacity of even the best known artists to surprise. With Thomas’s masterly vocals reintroducing the songs of Dave and Iola Brubeck, it seems unlikely they’ll remain hidden much longer. “I want people to cover these tunes,” Dan says. “They’ve been buried, but once singers hear them, I think a lot of them are going to want to do them.”

Celebrating The Music And Lyrics Of Dave & Iola Brubeck CD 1
Celebrating The Music And Lyrics Of Dave & Iola Brubeck CD 2

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Joscho Stephan - Guitar Heroes

Size: 150,1 MB
Time: 64:19
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Gipsy Jazz
Art: Front

01. Blues For Tommy (Feat. Tommy Emmanuel) (3:14)
02. Love's Melody (Feat. Stochelo Rosenberg) (3:21)
03. Hungaria (Feat. Bireli Lagrene) (3:59)
04. Swing 42 (Feat. Tommy Emmanuel) (4:54)
05. Double Jeu (Feat. Stochelo Rosenberg) (3:53)
06. Song For Bireli (Feat. Bireli Lagrene) (4:51)
07. Hey Joe (3:48)
08. Something (Feat. Tommy Emmanuel) (3:42)
09. Blues For Stochelo (Feat. Stochelo Rosenberg) (3:48)
10. Breezin' (Feat. Bireli Lagrene) (6:00)
11. Blue Drag (Feat. Tommy Emmanuel) (4:16)
12. Bye Bye Blues (2:14)
13. Black Orpheus (Feat. Bireli Lagrene) (4:48)
14. Seven Come Eleven (Feat. Tommy Emmanuel) (4:16)
15. Swinging Strings (Feat. Stochelo Rosenberg) (2:49)
16. Samba Pa Ti (4:19)

Feat. Tommy Emmanuel, Stochelo Rosenberg, Biréli Lagrène & Joscho Stephan Trio

Joscho Stephan is well known on the international guitar scene as one of the most creative gypsy-swing players. With a powerful tone and remarkable technical skills, he has an instantly recognizable voice on his instrument. He's also not afraid to combine gypsy swing with a lot of different styles, like klezmer, pop or classical music.

One of Joscho's longtime dreams has been to record an album of songs written by his “guitar heroes.” When he started to work on the project, he thought it would be even more fun to invite the “heroes” of the current guitar scene to the studio with him. So on this new record, Joscho is joined by three world-class guitarists -- Australian guitar legend Tommy Emmanuel, Dutch gypsy swing icon Stochelo Rosenberg, and French “guitar phenomenon” Biréli Lagréne. Together, they present Joscho's own compositions, along with famous tunes in the style of gypsy swing with rock, jazz, and funk influences. The album includes pieces written by such great guitarists as Django Reinhardt, Carlos Santana and George Harrison, plus pieces successfully interpreted by the likes of Jimi Hendrix (“Hey Joe”) and George Benson (“Breezin”).

Guitar Heroes

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Jeff Oster - Next

Size: 118,8 MB
Time: 51:24
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz, New Age
Art: Front

01. Next (Feat. Nile Rodgers) (3:08)
02. Night Train To Sofia (4:17)
03. Gardens Of Varanasi (5:50)
04. Turn Left At San Pancho (4:24)
05. I Can't Make You Love Me (5:33)
06. On Mother's Day (2:52)
07. Half A Cookie (4:18)
08. Ibiza Sunrise (3:58)
09. Avenue D (4:19)
10. The Mystery Of B (5:23)
11. Heroes (Feat. Jeff Taboloff) (3:36)
12. And We Dance (3:40)

Jeff Oster is a New Age artist of a different sort, as his brand of downtempo had long brandished chugging groove while maintaining that airy, celestial feel.next, out April 14, 2015 on Retso Records, does more of the same for the flugelhorn player. And then some.

Oster, as noted back in December, enlisted the services of a fabled rhythm section to hop up the funk factor for five of these tracks. Chuck Rainey and Bernard “Pretty” Purdie turned many of Steely Dan’s songs into dance-beckoning groove constructions starting with The Royal Scam and forty years later they’re sprinkling magic funk dust on Oster’s tunes.

No more so than on the leadoff title track, which features a third old school icon of the rare groove, guitarist/producer extraordinaire Nile Rodgers. Though no one will mistake “next” with, say, Daft Punk’s “Get Lucky” or even the new Chic tune, there’s no mistaken Rodgers’ signature rhythm guitar nor the Rainey/Purdie slinky shuffle. Oster’s notes bellow out and dissipate over the all-star groove machine.

Rodgers’ cameo lasted for only that song but the Rainey/Purdie ride continue for four more songs. Rainey’s highly melodic bass line competes with Oster for attention on “Turn Left At San Pancho,” and Purdie’s signature shuffle (along with Todd Boston’s tasteful guitar) gives “Avenue D” a lift much as he elevated “Home At Last” nearly forty years ago. The preciseness of both vets on all of their five performances is reason alone why they still live up to their mythical status in studio circles.

Elsewhere, Jeff Taboloff’s soaring tenor on “Heroes” saxophone provides an alternative horn voice to Oster’s smooth-edged expressions, and the acoustic guitars of Grammy-winning producer/Windham Hill founder Will Ackerman on the concluding ballad “And We Dance” is another way Oster pushes back against any notion that New Age is about programmed, artificial sounds. And soulless? The organ and piano-enhanced “I Can’t Make You Love Me” is overflowing with that vintage kind of soul.

By retaining all the soothing qualities of New Age while making it groove naturally, Jeff Oster has quietly pioneered an organic kind of downtempo — he calls it “New Age Ambient Funk” — that sets it apart from everyone else operating in that space, and in the process has made it more interesting and compelling. With the help of some unlikely contributors, next is the best demonstration of Oster’s homegrown genre thus far. ~S. Victor Aaron

Next

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VA - Introducing M-Base

Size: 157,2 MB
Time: 67:21
File: MP3 @ 320K/s
Released: 2015
Styles: Contemporary Jazz, Vocals
Art: Front

01. Cassandra Wilson - If You Only Know How (5:02)
02. Jean-Paul Bourelly - Irate Blues (4:18)
03. Miles Davis - Blue In Green (4:07)
04. Billy Strayhorn - Chelsea Bridge (5:33)
05. Jean-Paul Bourelly - Drifter (5:03)
06. Geri Allen - For John Malachi (3:30)
07. Kevin Bruce Harris - I'm Going Home (2:58)
08. Cassandra Wilson - Lies (3:43)
09. Greg Osby - Mindgames (5:26)
10. Steve Coleman - Micro-Move (4:16)
11. Steve Coleman - On This (5:07)
12. Steve Coleman - Cüd Ba-Rith (4:57)
13. Robin Eubanks - The Night Before (4:59)
14. Cassandra Wilson - I Am Waiting (3:36)
15. Olu Dara - Electromagnolia (4:40)

The album »Introducing M-Base« introduces early works by important artists associated with the movement M-Base. Two titles of this compilation – »Irate Blues« and »On This« – come from the debut recording »Motherland Pulse« by Steve Coleman. This album was established in 1985, exactly 30 years ago.

Introducing M-Base

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Gene Ludwig - Back On The Track

Bitrate: MP3@320K/s
Time: 65:30
Size: 150.0 MB
Styles: B-3 organ jazz, Soul jazz
Year: 1998
Art: Front

[5:37] 1. In Walked Bud
[6:11] 2. Memphis Underground
[6:47] 3. For Lena And Lenny
[6:03] 4. River's Invitation
[5:24] 5. Back On The Track
[5:52] 6. Triste
[9:31] 7. The First String
[7:28] 8. At Last
[4:37] 9. Papa Gee
[7:56] 10. Birk's Works

This CD shows organist Gene Ludwig's unabashed love for soul and blues pure and simple, which is not surprising since he is a native of that area of Pennsylvania which spawned so many of the giants of jazz and blues. Ludwig is no newcomer to the scene, having been performing since the 1960s; he got a big break in 1969 when he recorded with Sonny Stitt and another break when he toured with singer Arthur Prysock. Ludwig has listened to all the great practitioners of the Hammond B3, from the blues/soul promenading of Jimmy Smith to the swinging organs of Bill Doggett and Wild Bill Davis. These listening experiences are reflected on this album as he pulls out all the stops, literally and figuratively, in running through a variety of musical styles. He and guitarist Tony Janflone Sr. team up on "At Last," laying on a melancholy, whimsical sound unique to an organ/guitar combination. The swing comes to the fore with a relaxed medium tempo "Back on the Track," one of Ludwig's compositions. "In Walked Bud" echoes the many bop credentials on Ludwig's extensive resumé. But no matter the genre, swing, bop, ballad, or Latin, they all have that soul tone that has earned the Hammond B3 organ a special niche in jazz. Ludwig is joined by players sympathetic to his musical agenda. In addition to Janflone, fine guitar player Randy Caldwell sits in on three racks and is particularly effusive on the bouncy arrangement of his tune "Papa Gee." The drumming and percussive support by Messrs. Muchoney, Gelispie, and Jones is first rate. Ludwig's first album as a leader since his last recording for Muse almost 20 years ago, the appropriately named Back on the Track successfully welcomes the fine organist back to the fray. The CD is recommended for jazz lovers in general and for jazz organ enthusiasts in particular. ~Dave Nathan

Back On The Track

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Jeri Southern - The Very Thought Of You

Bitrate: MP3@320K/s
Time: 66:02
Size: 151.2 MB
Styles: Traditional pop, Vocal jazz
Year: 1999
Art: Front

[2:59] 1. You Better Go Now
[3:03] 2. The Very Thought Of You
[2:05] 3. It's De-Lovely
[3:07] 4. Dancing On The Ceiling
[2:33] 5. All In Fun
[3:03] 6. When I Fall In Love
[2:49] 7. I Hadn't Anyone Till You
[3:10] 8. Remind Me
[3:08] 9. I Don't Know Where To Turn
[3:41] 10. He Was Too Good To Me
[2:29] 11. If I Had You
[3:25] 12. I Remember You
[3:16] 13. Ev'ry Time We Say Goodbye
[3:54] 14. My Ship
[2:31] 15. An Occasional Man
[3:48] 16. Someone To Watch Over Me
[3:48] 17. Smoke Gets In Your Eyes
[3:02] 18. Close As Pages In A Book
[2:31] 19. No Moon At All
[4:05] 20. You're Nearer
[3:24] 21. Nobody's Heart

Whether Jeri Southern was a jazz singer or simply a jazz-influenced pop singer has been debated. To be sure, many of her '50s recordings were heavily arranged and devoid of improvisation -- and if you believe that improvisation is a key element of jazz, you have to believe that much of her output was essentially pop. But however you categorize her, Southern was among the finest female singers of her era. This 21-song collection, which came out in 1999, underscores the excellence of her '50s output for Decca. Southern's accompaniment ranges from lush string orchestras to the trio of guitarist Dave Barbour (who was best known for his work with Peggy Lee), and on some selections, she is heard on piano. You could argue that Southern's piano solo on "I Hadn't Anyone Till You" is a jazz solo, but on most of these recordings, pop considerations prevail over jazz considerations. Blessed with a smoky, warm voice, she brings a great deal of charm and vulnerability to "The Very Thought of You," "My Ship," "I Remember You" and other standards. It's such a shame that Southern chose to retire from recording and performing in the early '60s, when she was only 36 -- quite possibly, she could have continued to record first-class pop for another 20 or 25 years. But thankfully, listeners still have fine collections like The Very Thought of You to savor. ~Alex Henderson

The Very Thought Of You

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Michael Radliff Quartet - Night And Day

Bitrate: MP3@320K/s
Time: 50:50
Size: 116.4 MB
Styles: Guitar jazz
Year: 2014
Art: Front

[3:19] 1. East Of The Sun
[3:29] 2. Love Is Here To Stay
[6:49] 3. My Funny Valentine
[5:58] 4. I Remember You
[3:18] 5. Embraceable You
[5:28] 6. Don't Let Me Be Lonely Tonight
[4:55] 7. How Deep Is The Ocean
[7:24] 8. Night And Day
[5:34] 9. When I Fall In Love
[4:31] 10. Rebecca's Waltz

Michael was born into a musical family in Nebraska, and grew up surrounded by instruments, musicians and singers. He pursued piano for several years, along with the trombone in his middle and high school years. The guitar caught his interest at age 15, and he started taking professional lessons. After high school Michael attended the University of Nebraska at Kearney where he played guitar and sang in numerous bands and ensembles.

After graduating with his degree in Music Business, Michael moved to Nashville for an internship at Chordant Distribution. While there, he studied guitar under the supervision of Michael Ripoll, a highly sought after session guitarist and touring musician with credits including Stevie Wonder, Sting, Natalie Cole, Kenny "Babyface" Edmonds, American Idol, India Arie and many others.

The Michael Radliff Quartet plays a variety of tastefully arranged jazz standards, and contemporary pop tunes, with carefully crafted and personalized set lists. Their mix of mellow vocals with the classic sound of a small jazz combo has been compared to Diana Krall, Chet Baker, Nat King Cole, and Frank Sinatra. In addition, the band members have each earned a Bachelor’s or Master’s degree in music and have decades of performance experience in venues around the US and Europe, including major international jazz festivals such as Montreux and Vienne.

Night And Day

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Arturo O'Farrill & The Afro-Latin Jazz Orchestra - 40 Acres And A Burro

Bitrate: MP3@320K/s
Time: 68:34
Size: 157.0 MB
Styles: Big band, Latin jazz
Year: 2011
Art: Front

[6:21] 1. Rumba Urbana
[6:48] 2. A Wise Latina
[5:20] 3. Almendra
[4:57] 4. Um A Zero
[8:43] 5. El Sur
[6:48] 6. She Moves Through The Fair
[4:52] 7. Ruminaciones Sobre Cuba
[6:38] 8. Tanguango
[7:29] 9. Bebê
[4:08] 10. A Night In Tunisia
[6:24] 11. 40 Acres And A Burro

Recording Date; May 19 - 20, 2010. Piano: Arturo O’Farrill; Bass: Ricardo Rodríguez; Drums: Vince Cherico; Congas: Roland Guerrero; Percussion: Joe González. Featured Guest: Paquito D’Rivera (clarinet); Other Guests:Pablo O. Bilbraut (güiro); Heather Martin Bixler (violin); Hector Del Curto (bandoneón); Yuri Juárez (guitar); Freddy “Huevito” Lobatón (cajón, cajita, quijada); Sharon Moe (French horn); Guilherme Monteiro (guitar); Adam O’Farrill (trumpet); Jeff Scott (French horn).

For over 60 years, big bands have been the exception instead of the rule in jazz -- and that is very much a matter of economics. It is a lot easier to pay four, five, or six musicians than it is to pay 19 or 20 musicians. But there are still some great big bands if one knows where to find them, and acoustic pianist Arturo O'Farrill's Afro Latin Jazz Orchestra has been offering excellent big-band Latin jazz since 2003. O'Farrill's outfit celebrated its seventh anniversary in 2010, which was also the year in which 40 Acres and a Burro was recorded. This fine album (which boasts guest Paquito d'Rivera on clarinet) is a perfect example of why O'Farrill calls his big band the Afro Latin Jazz Orchestra instead of the Afro Cuban Jazz Orchestra; O'Farrill favors a pan-Latin approach, demonstrating that Afro-Cuban music isn't the only type of Latin music that can have a positive effect on acoustic jazz. Certainly, Afro-Cuban rhythms are an important part of the equation; the Afro-Cuban influence serves the orchestra well on material ranging from O'Farrill's "Ruminaciónes Sobre Cuba" (Ruminations About Cuba) to the Abelardo Valdés standard "Almendra" to Dizzy Gillespie's "A Night in Tunisia." But O'Farrill ventures into Brazilian jazz territory on interpretations of Pixinguinha's "Um a Zero" and Hermeto Pascoal's "Bebê," and his big band combines jazz with Argentinian tango on Astor Piazzolla's "Tanguango." But the biggest surprise of all comes when the Afro Latin Jazz Orchestra puts a somewhat bolero-ish spin on the traditional Irish-Celtic standard "She Moves Through the Fair"; it's an unlikely choice for a jazz band, but this arrangement successfully unites post-bop, Celtic, and Latin elements with absorbing results. In a perfect world, it wouldn't be difficult for jazz musicians to keep a big band together. But some big bands will excel despite the difficulty, which is exactly what O'Farrill's Afro Latin Jazz Orchestra does on 40 Acres and a Burro. ~Alex Henderson

40 Acres And A Burro

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