Fay Claassen - Rhythms & Rhymes

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 51:57
Size: 119,3 MB
Art: Front

(6:38)  1. Con Alma
(4:37)  2. What Are You Doing the Rest of Your Life?
(4:58)  3. Wild Is Love
(6:30)  4. La Belle Dame Sans Regrets
(5:56)  5. It Never Entered My Mind
(7:14)  6. Peace On Earth
(4:13)  7. If You Go Away
(4:55)  8. Seven Steps To Heaven
(3:52)  9. Once Upon A Summertime
(2:59) 10. Começar de Novo

Contrary to what the more Manhattan-centric individuals in the jazz world would have us believe, European jazz vocalists don't have to record in the Big Apple to be legitimate a singer can find plenty of first-class improvisers to work with in places like Stockholm, Paris, Oslo, Copenhagen, and Amsterdam. So even if Fay Claassen had never crossed the Atlantic Ocean and opted to work in Europe exclusively, the Dutch singer would have a lot to be proud of. That said, Claassen did herself a nice favor when she traveled to the New York City/Northern New Jersey area in the early 2000s and recorded her second album, Rhythms and Rhymes, which was released in Holland on the Jazz 'N Pulz label. The American musicians who join Claassen on this CD include, among others, Toots Thielemans, guitarist Mike Stern, pianist Kenny Werner, trombonist Steve Davis, and vibist/marimba player Joe Locke an impressive cast, certainly, and one that obviously understands where Claassen is coming from as a singer. 

Although Claassen swings, she isn't an aggressive or forceful sort of vocalist her post-bop outlook is urbane, sophisticated, elegant, and refined. And thankfully, she has sympathetic accompaniment whether she is turning her attention to Jacques Brel's "If You Go Away," Michel Legrand's "Once Upon a Summertime," or Miles Davis' "Seven Steps to Heaven." Claassen sings in perfect English most of the time, although she is equally expressive when she detours into French on Sting's "La Belle Dame Sans Regrets," and Portuguese on Ivan Lins' "Comecar de Novo." Clearly, Rhythms and Rhymes is a solid and memorable document of Claassen's visit to the northeastern United States. ~ Alex Henderson  http://www.allmusic.com/album/rhythms-rhymes-mw0000034868

Rhythms & Rhymes

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John Patitucci - Brooklyn

Styles: Jazz
Year: 2015
File: MP3@320K/s
Time: 54:12
Size: 125,3 MB
Art: Front

(7:46)  1. IN9-1881/The Search
(5:40)  2. Dugu Kamalemba
(5:07)  3. Band of Brothers
(5:59)  4. Trinkle Tinkle
(5:30)  5. Ugly Beauty
(6:19)  6. JLR
(3:43)  7. Do You?
(1:35)  8. Bells of Coutance
(4:09)  9. The Thumb
(4:27) 10. Go Down Moses
(3:52) 11. Tesori

Brooklyn is where it all started for John Patitucci. While the renowned bassist may have initially made his mark in sunny California, working with jazz luminaries and establishing himself as a strong presence in the studio scene in the '80s, his New York childhood helped to get him there. It's that starting point that serves as the inspiration for this project, which is something of a companion piece to Back In Brooklyn a documentary on Patitucci's life expected to arrive in late 2015. For this album, Patitucci returned to the scene(s) of his youth, literally and figuratively. He works exclusively with electric bass here, since that was the instrument for Patitucci when he started; the project was recorded at The Bunker, a studio located in Brooklyn; and it features a number of songs Thelonious Monk's "Trinkle Tinkle" and "Ugly Beauty," Wes Montgomery's "The Thumb" that served to introduce him to jazz. In saluting those figures, Patitucci also nods to his grandfather, the man who brought home a box of discarded jazz records and, in doing so, opened up a new world for the bass-star-to-be. But that's just how Patitucci looks to the past. The album itself exists firmly in the present, as Patitucci teams up with super drummer Brian Blade, his rhythm teammate in the Wayne Shorter Quartet, and a pair of wholly capable jazz guitar modernists Adam Rogers and Steve Cardenas. With a band like that, it's clear that this isn't going to be some dated walk down memory lane.

Brooklyn begins with IN9-1881/The Search," a prismatic treasure painted with a pan-African palette of sounds. African music remains the focus on the follow-up track Malian vocalist Oumou Sangare's "Dugu Kamalemba" but Patitucci and company switch gears for the backbeat-driven, funky-and-soulful "Band Of Brothers." From there, it's off to Monk's world with "Trinkle Tinkle," a number that finds Patitucci and Blade trading solos, and "Ugly Beauty," a spare and transfixing performance with few traces of the composer's idiosyncrasies. As the album reaches its midpoint, bluesy strains play a bigger part in the production. "JLR," a Blade-Patitucci duo take on "The Thumb," and a deeply felt "Go Down Moses" all speak to this crew's ability to get deep inside the blues, be it in form, language, or spirit. And then there are numbers that go in other directions: "Do You?" is a scintillating piece that swings, "Bells Of Coutance" is an ethereal episode, and "Tesori" is a touching solo bass work that Patitucci wrote for his wife and children. 

While no single album can capture every angle of Patitucci's playing, Brooklyn manages to shine a light on his multifaceted electric bass work better than anything else in his leader discography. This music is electric in more ways than one. ~ Dan Bilawsky  http://www.allaboutjazz.com/brooklyn-john-patitucci-three-faces-records-review-by-dan-bilawsky.php
 

Personnel: John Patitucci: electric bass; Adam Rogers: electric guitar; Steve Cardenas: electric guitar; Brian Blade: drums.

Brooklyn

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Diego Urcola - Viva

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 69:04
Size: 158,5 MB
Art: Front

(6:51)  1. Tango Azul
(7:32)  2. Viva
(5:40)  3. Afroraffo
(8:11)  4. El Camino
(7:06)  5. Blues For Jimmy
(6:42)  6. 40/40
(6:55)  7. Sound for Sore Ears
(7:39)  8. Adios nonino
(7:35)  9. Gringo dance
(4:49) 10. Emilia

American jazz fans sometimes neglect talented instrumentalists from other countries, and with Viva, trumpeter Diego Urcola reminds us that there are other Argentine horn players besides Gato Barbieri.

Born in Buenos Aires, Diego Urcola began studying music at age nine, eventually earning degrees from Argentina's Conservatorio Nacional de Música, Berklee College of Music, and the City University of New York. His big break came when legendary Latin jazz maestro Paquito D'Rivera needed a replacement for trumpeter Claudio Roditi. A faculty member at Berklee recommended Urcola, who has now been with D'Rivera for fifteen years. Urcola has also performed with numerous other luminaries. Recorded in November 2005, Viva is Urcola's third album as a leader, and he refers to the lineup on this session as his "dream band." His sidemen are well-established players and bandleaders in their own right, particularly pianist Edward Simon and bassist Avishai Cohen. Several big names appear as guests, notably Jimmy Heath, Urcola's academic advisor while he was working on his Master's Degree at CUNY. D'Rivera plays alto sax and clarinet on three tracks. Urcola makes no bones about his indebtedness to this mentor, asserting "I wouldn't be here if it weren't for Paquito."

Another longtime friend on this session is Conrad Herwig, a former band mate in the United Nations Orchestra. Calling him a "trombone god," Urcola recounts that while in Argentina with D'Rivera, Herwig met a woman whom he subsequently married. Now fluent in Spanish, Herwig has become "half Argentinian," declares Urcola. Vibraphonist Dave Samuels, who has worked with Urcola in the Caribbean Jazz Project, appears on two tracks. Samuels points out that while they "all knew each other and some ... had already played together, this particular combination was new, different and fresh." The result is a relaxed atmosphere that nonetheless has a comfortably charged energy familiar without being rote, experimental yet assured. Like Barbieri, Urcola integrates the loping, slightly asymmetrical rhythms of the tango into the jazz idiom. 

All but one of the album's ten cuts (including three by Urcola) were written by Argentine composers: Guillermo Klein, Juan Raffo and Astor Piazzolla. A Latinized version of Heath's "Sound for Sore Ears" partakes in this overall spirit. "I like to bring ... my country into the mix," says Urcola, patriotic while never parochial, "but foremost I'm a jazz musician." The album opens with Urcola's "Tango Azul." An opening bass vamp with a pleasant 7/4 hiccup leads into a modal vehicle that evokes Kind of Blue. 

Appropriately, the tune's highlight is a solo by Herwig, known for exploring Miles' Latin side. Another subtle rhythmic experiment is Raffo's "Gringo Dance," a tricky 3/4 piece "with all kinds of different bars added in," according to Urcola. "Blues for Jimmy" features Heath's urbane tenor, and D'Rivera provides two delightful reacquaintances with the clarinet on "40/40" and "Emilia." Reflective ballads like "El Camino" and "Adios Nonino" nicely balance the up-tempo cuts on this well-produced, interestingly eclectic offering. ~ Victor Verney  http://www.allaboutjazz.com/viva-diego-urcola-cam-jazz-review-by-victor-verney.php

Personnel: Diego Urcola: trumpet, flugelhorn; Edward Simon: piano; Avishai Cohen: bass; Antonio Sanchez: drums; Pernell Saturnino: percussion; Jimmy Heath: tenor saxophone (5,7); Paquito D'Rivera: alto saxophone, clarinet (3,6,10); Conrad Herwig: trombone (1,4,5,9); Dave Samuels: marimba, vibes (3,8).

Viva

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Liz Callaway - The Beat Goes On

Styles: Cabaret
Year: 2001
File: MP3@320K/s
Time: 56:32
Size: 130,2 MB
Art: Front

(4:53)  1. The Beat Goes On/Feelin' Groovy
(2:18)  2. Half As Big As Life
(2:42)  3. You Don't Own Me
(2:09)  4. Frank Mills
(5:23)  5. Didn't We/MacArthur Park
(3:32)  6. Up, Up And Away
(4:18)  7. Monday, Monday
(2:48)  8. Wedding Bell Blues
(4:51)  9. Leavin' On A Jet Plane
(2:53) 10. When I'm Sixty-Four
(3:03) 11. Moon River
(2:49) 12. Wouldn't It Be Nice?
(5:08) 13. Where Have All The Flowers Gone
(3:11) 14. Downtown
(2:37) 15. Here, There And Everywhere
(3:50) 16. Feed The Birds

Liz Callaway has one of the best voices on Broadway, with a clear-as-a-bell tone, seemingly effortless soprano range, and terrific warmth. After spending five years on Broadway as Grizabella in Cats and further occupying herself with animated voiceover work, Callaway has released The Beat Goes On, her first solo album since 1995's outstanding The Story Goes On, and it was worth the wait. Naturally, any celebration of the frenetic '60s needs a wide scope, and included here are infectious pop ("Wedding Bell Blues"), Broadway musicals (Hair's "Frank Mills," Promises, Promises' "Half as Big as Life"), the Beatles ("When I'm 64"), social protest ("Where Have All the Flowers Gone"), and movie music ("Moon River"), all masterfully arranged by music director Alex Rybeck. Callaway has never sounded better her "Up, Up and Away" soars, and "Wouldn't It Be Nice" is totally irresistible. She confesses that recording Petula Clark's "Downtown" has been a lifelong fantasy; it comes true in this dream of an album. ~ David Horiuchi 

Editorial Reviews  http://www.amazon.com/The-Beat-Goes-Liz-Callaway/dp/B00005J70O

The Beat Goes On

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Dick Oatts - Standard Issue

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 64:05
Size: 146,9 MB
Art: Front

(10:49)  1. You And The Night And The Music
( 6:51)  2. Like Someone In Love
( 9:33)  3. All the Things You Are
(10:25)  4. Memories Of You
(12:17)  5. Nimble Jack
(14:08)  6. End Of A Love Affair

A collection of live recordings from 1997, Standard Issue finds alto saxman Dick Oatts (who plays the tenor as a second instrument) showing his appreciation of Charlie Parker and his disciples (Sonny Stitt, Jackie McLean, among others) as well as Lee Konitz and early Art Pepper. Put all those influences together and you have a saxophonist with an appealing, recognizable tone. Except for Oatts' own "Nimble Jack," this Danish release is a conventional bop-oriented set of standards "All the Things You Are," "You and the Night and the Music," and "Memories of You" have been done to death over the years, and some people would argue that there should be a moratorium on them. 

But while the former Red Rodney sideman could have been more adventurous in his choice of material, this is still an enjoyable, if predictable, CD. Oatts (who is joined by pianist David Berkman, bassist Dave Santoro, and drummer James Oblon) has a likable sense of swing, and again, his tone is something to admire. Standard Issue may not be the ideal or most interesting document of Oatts' playing, but all things considered, it paints a favorable picture of the alto man. ~ Alex Henderson  http://www.allmusic.com/album/standard-issue-mw0000432750

Standard Issue

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Curtis Fuller - The Opener

Styles: Straight-ahead/Mainstream, Trombone Jazz
Year: 1957
File: MP3@320K/s
Time: 37:02
Size: 85,4 MB
Art: Front

(6:53)  1. A Lovely Way To Spend An Evening
(6:44)  2. Hugore
(5:40)  3. Oscarlypso
(6:43)  4. Here's To My Lady
(5:24)  5. Lizzy's Bounce
(5:35)  6. Soon

Detroit-born trombonist Curtis Fuller stepped into the hard bop big league during the summer of 1957 with a flurry of high profile sideman dates and two albums as leader, New Trombone (Prestige, 1957) and The Opener, made within a few weeks of each other. The Opener, a lithe and soulful but largely forgotten disc, has been rereleased as part of Blue Note's Rudy Van Gelder Remaster series.  In 1957, the big league meant New York, where Fuller had arrived in April as a member of reed player Yusef Lateef's quintet. When Lateef and his band returned to Detroit, Fuller stayed behind. Within a month, he'd recorded four albums for Prestige as a sideman with saxophonist Paul Quinchette, as co-leader with pianist Red Garland, on a Teddy Charles produced French horn project, and New Trombone. 

A month later, he recorded two albums for Blue Note as a sideman with saxophonist Clifford Jordan and The Opener.  With the leader albums, Blue Note beat Prestige to the shops, rush-releasing The Opener in August, by which time Fuller's sideman credentials with the label also included albums with pianists Sonny Clark and Bud Powell. A month later, Fuller sealed his arrival on saxophonist John Coltrane's Blue Train (Blue Note, 1957). When you're hot, you're hot. And 51 years after its original release, The Opener tells us why. Combining a fluent technique shaped by J.J. Johnson and Kai Winding, his own deep melodicism, a knowledge of trombone stylists stretching back to Tommy Dorsey and beyond, and an embrace of Coltrane's recent harmonic initiatives, Fuller fashioned an enduring jewel. He was assisted by a superb band comprised of rising stars saxophonist Hank Mobley, pianist Bobby Timmons, bassist Paul Chambers and drummer Art Taylor.

The two sides of the original LP followed a similar sequence, each starting, unusually, with a ballad (McHugh and Adamson's "A Lovely Way To Spend An Evening" and Bloom and Mercer's "Here's To My Lady"), followed by a bluesy Fuller original ("Hugore" and "Lizzy's Bounce"), followed by a fast-paced standard (Oscar Pettiford's "Oscarlypso" and George Gershwin's "Soon"). Producer Alfred Lion's decision to start each side with a ballad recorded without Mobley was daring, but he knew what he was doing. Fuller's warmth and lyricism, reflected in Timmons' solos, set the tone for the other four tracks. These are all brisk going on fast, but loose and carefree rather than urgent, and always on the melodic money. 

Hard bop's darker, more menacing moods are way off in the wings. The musicians sound at ease with each other and with life, and the feeling is infectious. This is hard bop served sunny side up. Born in 1934 and still kicking, after The Opener Fuller went on to record a prodigious discography as sideman and leader, and the 1957 album brims with a promise later amply fulfilled. Released in a stereo edition by Mosaic in 1996, this RVG edition is in the original mono. ~ Chris May  http://www.allaboutjazz.com/the-opener-curtis-fuller-blue-note-records-review-by-chris-may.php

Personnel: Curtis Fuller: trombone; Hank Mobley: tenor saxophone; Bobby Timmons: piano; Paul Chambers: bass; Art Taylor: drums.

The Opener

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Johnny Hodges - Three Shades Of Blue

Bitrate: MP3@320K/s
Time: 39:27
Size: 90.3 MB
Styles: Saxophone jazz
Year: 1970/2000
Art: Front

[4:38] 1. Empty Ballroom Blues
[2:33] 2. Duke's Place
[3:59] 3. Echoes Of Harlem
[3:55] 4. Disillusion Blues
[5:18] 5. Yearnin'
[4:06] 6. Welcome To New York
[3:48] 7. Black, Brown And Beautiful
[3:22] 8. Rockin' In Rhythm
[4:54] 9. Creole Love Call
[2:49] 10. It's Glory

An excellent late Johnny Hodges album that mixes his supreme talents with two of the other big stars of the Flying Dutchman label – Oliver Nelson and Leon Thomas – both of whom contribute wonderfully to the set! Nelson arranged the whole album, and gives it the groovy feel of some of his best orchestrations from the late 60s – nicely swinging throughout, but also awash in sophisticated colors and tones at the bottom! Leon Thomas sings vocals on a few cuts, and although he's a little straighter than on his own recordings, or the records he did with Pharoah Sanders, he still gives the set a hip sound that's a great change from the usual Johnny Hodges record – especially some of his 60s sessions with Wild Bill Davis. Hodges is great throughout, and the best tracks include "Yearning", "Welcome To New York", "Disillusion Blues", and Nelson's great "Black, Brown, & Beige" – plus a hip vocal take on "Dukes Place".

Three Shades Of Blue

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Emma Nabarro-Steel - Unphotographable

Bitrate: MP3@320K/s
Time: 22:07
Size: 50.7 MB
Styles: Vocal jazz
Year: 2009
Art: Front

[4:25] 1. That Old Feeling
[5:12] 2. My Funny Valentine
[2:54] 3. Just Squeeze Me
[1:41] 4. Picture
[5:11] 5. I Get Along Without You Very Well
[0:50] 6. I Fall Inlove Too Easily
[1:51] 7. Isn't She Lovely

Jazz vocalist Emma Nabarro-Steel has spent almost a decade performing and recording jazz standards with many of the UK’s finest jazz musicians. An improvising vocalist and instrumentalist, she has been described as a “a jazz singing natural” and “a fresh jazz singer who floats a song lyric without losing her grip on it” (manchester evening news). Born in Nottingham, UK, and now based in Leeds, BBC Radio 4 bestowed on her the proud title of “Yorkshire’s Ella Fitzgerald” after a 2006 performance on Woman’s Hour. Indeed, her individual tone belies the influence of the ‘great’ jazz singers of the 20th century, not least the fabulous Ella. But musical experiences have been eclectic from childhood, embracing classical music and heavy metal. She is a pianist, and has recorded compositions for voice and piano, as well as being a woefully untrained but everso keen guitarist. She has produced several CD’s, the most recent, Unphotographable, having been released in 2006, shortly before daughter Mia arrived to curtail, for a while atleast, nights spent gigging in far flung venues.

Unphotographable

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Bryan Ferry - As Time Goes By

Bitrate: MP3@320K/s
Time: 44:30
Size: 101.9 MB
Styles: Vocals
Year: 1999
Art: Front

[2:33] 1. As Time Goes By
[3:35] 2. The Way You Look Tonight
[2:20] 3. Easy Living
[4:13] 4. I'm In The Mood For Love
[3:20] 5. Where Or When
[2:56] 6. When Somebody Thinks You're Wonderful
[3:10] 7. Sweet And Lovely
[2:39] 8. Miss Otis Regrets
[3:01] 9. Time On My Hands
[2:53] 10. Lover, Come Back To Me
[2:26] 11. Falling In Love Again
[2:43] 12. Love Me Or Leave Me
[2:46] 13. You Do Something To Me
[2:45] 14. Just One Of Those Things
[3:02] 15. September Song

No stranger to covers, Bryan Ferry has often opted for classics from other times and places. As Time Goes By focuses on music largely from the 1930s and '40s and conjures that era's aura of fine cigars, sateen gowns, and gentlemanly romance. The opening title track summons images of Bogie and Ingrid, and is one of the finest moments in the collection. The swanky versions of Nina Simone's signature "Love Me or Leave Me" and "I'm in the Mood for Love" (which has a faint Martin Denny overtone) are perfectly suited to Ferry's low-key vocals (he's no real crooner, let's face it). His talented band swings with fervor, especially on the upbeat tunes "The Way You Look Tonight," "Lover Come Back to Me," and "Just One of Those Things." There are a number of intimate, romantic moments, but the highlight is Ferry's take on "Falling in Love Again," first made famous way back when with devastating sadness by Marlene Dietrich. Ferry's version is almost as moving. ~Lorry Fleming

As Time Goes By

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Lucky Thompson - Rhythm Is A Rift

Bitrate: MP3@320K/s
Time: 63:51
Size: 146.2 MB
Styles: Bop, Saxophone jazz
Year: 2014
Art: Front

[3:01] 1. From Dixieland To Bop
[2:43] 2. Sugar Hips
[2:33] 3. Flamingo
[2:52] 4. Why Not
[2:53] 5. The Scene Is Clean
[3:10] 6. No-Good Man Blues
[5:21] 7. Oodie Coo Bop (Ornithology), Pts. 1 & 2
[3:20] 8. Irresistible You
[2:48] 9. Mambo In Blues
[2:43] 10. Phace
[3:10] 11. Just One More Chance
[3:07] 12. Rhythm In A Riff
[2:50] 13. Vout Rhythm
[2:58] 14. Stay In There
[2:57] 15. The Hour Of Parting
[2:40] 16. Cherokee
[3:13] 17. Boulevard Bounce
[2:50] 18. Don't Drive This Jive Away
[2:57] 19. Boppin' The Blues
[2:57] 20. Over The Rainbow
[2:37] 21. I'm In The Mood For Love

Eli (Lucky) Thompson (June 16, 1924 in Columbia, South Carolina – July 30, 2005 in Seattle, Washington) was an African American jazz tenor and soprano saxophonist. He is considered to have, alongside Steve Lacy brought the soprano saxophone out of obsolescence, playing it in a more advanced boppish format, which inspired John Coltrane to take it up in the early 1960s. After playing with the swing orchestras of Lionel Hampton, Don Redman, Billy Eckstine, Lucky Millinder, and Count Basie, he worked in rhythm and blues and then established a career in bop and hard bop.

Rhythm Is A Rift

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Kenny Davern & Ken Peplowski - The Jazz KENnection / Dialogues

Album: The Jazz KENnection
Size: 149,5 MB
Time: 64:21
File: MP3 @ 320K/s
Released: 2001
Styles: Jazz
Art: Front

01. I'm Satisfied With My Gal (9:19)
02. Mama's Gone, Good Bye (8:33)
03. I'll See You In My Dreams (4:19)
04. Georgia On My Mind (7:28)
05. Careless Love (9:29)
06. Creole Love Call (8:48)
07. Chicago Rhythm (2:48)
08. All Of Me (9:01)
09. A Porter's Love Song To A Chambermaid (4:32)

Clarinetist Kenny Davern and alto saxophonist Ken Peplowski (heard on his third reed for the first time since his CD Illuminations, recorded ten years prior to this session) join forces for an inspired small-group date with a very capable rhythm section consisting of Howard Alden, John Bunch, Greg Cohen, and Tony DeNicola. The material mixes classic jazz and swing, from the very familiar "Georgia on My Mind" and "Creole Love Call" to less frequently heard gems like Sharkey Bonano's "I'm Satisfied With My Gal" and W.C. Handy's "Careless Love." What makes this recording special is the intuitive interplay between the two leaders, as they feed off one another's improvisations and provide inventive backing behind each other's solos, as well as their lyrical playing. Davern is used to excelling with another reed player who doubles on his instrument, as his many recordings with Bob Wilber will attest. Although Peplowski has become better known as a tenor saxophonist and clarinetist, he shows that he hasn't lost a bit of his chops on his other horn, which many folks wrongly assumed he had given up for good. He switches to clarinet to join Davern on a snappy run through James P. Johnson's "A Porter's Love Song to a Chambermaid." Alden, a frequent collaborator on recording dates with each of the leaders, demonstrates why he is one of the most in-demand guitarists of his generation. Bunch, the senior member of the band, consistently provides the perfect accompaniment and many fine solos. Both Cohen and DeNicola are veterans of several previous recordings led by Davern, for obvious reasons. Masterful releases such as this one are few and far between, so it is highly recommended to fans of classic jazz and swing. ~by Ken Dryden

The Jazz KENnection

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Album: Dialogues
Size: 141,5 MB
Time: 60:56
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz: Swing Jazz
Art: Front

01. If Dreams Come True (7:12)
02. The Diner (5:43)
03. I Can't Believe That You're In Love With Me (5:36)
04. Comes Love (9:12)
05. Should I (7:10)
06. Sometimes I'm Happy (4:06)
07. High Society (4:42)
08. Crazy Rhythm (6:58)
09. Nobody Else But Me (4:33)
10. Muskrat Samba (5:39)

Clarinetists Kenny Davern and Ken Peplowski collaborated earlier on an Arbors album called "KENnections," but this, their second effort for the label, is even better. Davern did some of his best clarinet work on the 10 tunes, which provide more than an hour of music. Peplowski departed from the clarinet on several songs to play some equally good tenor sax. Howard Alden and James Chirillo contribute some fine musical ideas on guitar and banjo, Nicki Parrott is outstanding on bass, and Tony DeNicola keeps great time on the drums. The atmosphere is happy. These artists not only enjoy the music but obviously relish playing together. On the down side, this was the final recording for both Davern and DeNicola, who passed away within four months of each other in late 2006. Thanks to Mat Domber and Arbors for getting them together one more time before they left us. This is an enjoyable CD of fine selections, including "The Diner," which Davern and Peplowski wrote. ~Steve Emerine

Dialogues

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Jeanne Page - Reboot

Size: 107,0 MB
Time: 45:04
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues Vocals
Art: Front

01. Blue Stairway (4:48)
02. Something Cool (4:30)
03. Nobody Knows You When You're Down & Out (3:53)
04. My Funny Valentine (4:30)
05. Sweet Georgia Brown (2:47)
06. Miss Otis Regrets (3:37)
07. Is You Is Or Is You Ain't, Ma' Baby (3:23)
08. Hardhearted Hannah (3:09)
09. Good Morning Heartache Blues (4:07)
10. Save The Bones For Henry Jones (3:13)
11. Something Beautiful (4:20)
12. Down In New Orleans (2:44)

A refreshed approach to the jazz standards I love that only get better with time. This includes unique mash-ups with some favorites from the 1970's. Our intent was to deliver a clean, live-sounding, studio performance. We hope you enjoy.

Powerhouse vocalist, Jeanne Page, made a stylish return to Sterling's Upstairs at The Federal in Los Angeles, for a marvelous evening of standards done her way...She infuses every song she sings with the true colors they deserve. Believe you me...her CD is a knockout! Don Grigware, BroadwayWorld.com (Los Angeles)

Reboot

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George Cole - George Cole Live

Size: 129,1 MB
Time: 55:46
File: MP3 @ 320K/s
Released: 2015
Styles: Gipsy Jazz, Vocals
Art: Front

01. Riverside Drive (4:17)
02. Samois Faire (4:43)
03. The One That Got Away (4:00)
04. Sheila's Waltz (Feat. David Grisman) (8:16)
05. Avalon (Feat. David Grisman) (6:05)
06. Limehouse Blues (Feat. David Grisman) (5:07)
07. La Vie En Rose (4:51)
08. Caravan (5:39)
09. Tres Vite (5:56)
10. The Crooner (6:48)

Personnel:
George Cole – Guitars & Vocals
David Grisman - Mandolin
Kaeli Earle – Bass & Vocals
Javier Jimenez- Guitar
Sheldon Brown - Clarinet

The George Cole LIVE! CD captures vocalist, guitarist and composer George Cole's electrifying unplugged performance at the famed Freight & Salvage in Berkeley, California on January 26, 2014, This never before released recording includes 10 songs spanning ten years of the "Great American Cole Book" with sizzling originals and fresh takes on fan favorites and features special guest David Grisman on three tracks.

George Cole Live

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Terell Stafford - Brotherlee Love: Celebrating Lee Morgan

Size: 175,0 MB
Time: 75:49
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Hocus Pocus ( 8:06)
02. Mr. Kenyatta ( 7:22)
03. Petty Larceny ( 8:51)
04. Candy ( 8:57)
05. Yes I Can, No You Can't ( 7:28)
06. Favor (12:25)
07. Stop Start ( 6:42)
08. Carolyn ( 6:13)
09. Speedball ( 9:40)

You can sum up Terell Stafford’s trumpet style in one word - exciting!

The man just burns; he brings it; he’s plays THE HORN and he wants everyone to know why the angel Gabriel choose this axe [instrument] over all others.

Terell Stafford is a monster player who doesn’t fool with a trumpet. He blows it well and hard. No squeaks; no peeps; no pardon-me-while-I-swing from Terell. He’s in your face with a “listen here brother, I’m gonna blow some electrifying Jazz outta this here, trumpet and you are gonna sit back and dig it.”

Given that attitude, is it any surprise that Terell’s next CD is dedicated to the late trumpeter, Lee Morgan?

I mean, talk about a take-no-prisoners style of trumpet playing, Lee Morgan generated excitement every time the horn touched his lip.

Given the affinity of approaches to the trumpet between Terell and Lee, the only question was why it took so long for the former to do a tribute recording to the latter?

I guess the project was waiting for Tom Burns to come along.

Tom is the owner-operator of Capri Records and he’s been quoted as saying that he makes albums that he would like to listen to himself. A lot of Jazz fans probably share a similar wish but Tom puts up his money to make his fantasies a reality.

The result of Tom’s latest production is the forthcoming Terell Stafford - BrotherLee Love: Celebrating Lee Morgan which becomes available on June 16, 2015.

It is a corker of an album from start to finish. Nine tracks, eight by Lee and one by Terell, on which Stafford is joined by Tim Warfield on tenor sax, Bruce Barth on piano, Peter Washington on bass and Dana Hall on drums.

When the chemistry on a band is right, Jazz musicians inspire one another. They take chances, search for new avenues of expression and push one another in new directions. The music flows; the feeling glows; the grooves are sustained, refreshed, and the quest continues.

I have long been a fan of each of the players on this CD and it is nice to be able to hear what they are up to these days. All of the players are great storytellers who construct solos of of imaginative depth that never stop swinging.

Tim Warfield gets a huge sound on tenor which to my ears is very reminiscent of Dexter Gordon’s, but his phrasing and ideas are very much his own, Tim generates solos that have a texture to them that is almost palpable. He’s got a great sense of humor too because every now and again I hear him throw out a little “bar-walkin’ tenor sax” in his solos. For evidence of this, check out the way Tim slip-slides his way along the counter at the end of his solo on Speedball.

And each time I hear Bruce Barth, I wonder why I don’t listen to him more as his percussive and rhythmic approach to piano reminds me Victor Feldman, Wynton Kelly and Joe Zawinul, all of whom were pianists whose pulsating ideas propelled their solos while also adding pulse to the rhythm section. Bruce’s block-chording on Mr. Kenyatta is absolutely masterful.

Is bassist Peter Washington on every Jazz record date? It sure seems that way, but I’m not complaining because Peter is a model of consistency in his solos and a perfect example of why rhythmically the bass is sometimes considered to be “the heartbeat of Jazz.” Nobody frames chords better than Peter and there is no need to look for “the bottom” when he’s around.

Dana Hall keeps it all flowing from the drum chair with a powerful and energetic swing and well-placed kicks and fills which reflect the fact that he is listening to the soloist and not just playing over them. His extended solo on Lee’s Mr. Kenyatta brought back memories of Max Roach because you can hear Dana playing the melody instead of a bunch of drum rudiments across bar lines.

Brotherlee Love

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Karin Krog - Don't Just Sing: An Anthology 1963-1999

Size: 186,0 MB
Time: 79:56
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. As A Wife Has A Cow (0:55)
02. Lazy Afternoon (4:36)
03. We Could Be Flying (6:02)
04. Raindrops, Raindrops (3:45)
05. Blues Eyes (4:54)
06. Ode To Billy Joe (8:19)
07. Images In Glass (5:20)
08. Tystnaden (4:17)
09. Maiden Voyage (4:42)
10. Just Holding On (3:32)
11. Don't Just Sing (6:59)
12. Glissando (4:24)
13. Break Of Day In Molde (2:19)
14. All I Want (3:29)
15. Cloud Line Blue (8:56)
16. A Love Supreme (7:18)

The work of Karin Krog may be unfamiliar to much of the world, but in her native Norway and Scandinavia at large, she’s practically a household name. This says much about the local enthusiasm for post-bop jazz but also about the tyranny of distribution: until 1994, Krog’s albums weren’t available in the USA or UK, meaning three decades of recordings were waiting to be discovered. In theory, until now, she hasn’t had any regularly distributed albums in the US or the UK–this is certainly the first one even marketed/promoted in here and in England. With this anthology of her best recordings from 1963 to 1999–curated with Krog’s own input–we hope to set the record straight.

To listen to opening track “As A Wife Has A Cow” is to jump into the deep end. It’s 54 seconds of words, voice, and technology, a looped, echoing reading of a Gertrude Stein poem. The effect is disquieting and alien but deeply rhythmic, too–and that’s Krog’s USP. Don’t Just Sing takes in these spoken experiments along with free jazz, improvisation, standards, contemporary covers, and electronic manipulation. It features some of the best regarded jazz players in Europe, not least her partner, John Surman, the English saxophonist/multi- instrumentalist and composer. Like Annette Peacock, Krog experiments with solo vocals run through electronics and performs with progressive electric jazz combos and traditional acoustic groups as well.

Krog began singing jazz in the 1950s and started her first band in 1962. She not only had two tracks on the first ever Norwegian jazz LP, Metropol Jazz, but also became the first Norwegian jazz artist to record and release a full album (1964’s By Myself on the Philips label). Her sound developed as technological advances made new recording techniques possible, and she quickly embraced the album as the perfect form to contain her sonic experiments. “There is such a thing as too much manipulation,” says Krog today.

Recorded with tenor saxophonist Jan Garbarek and bass player Arild Andersen, 1968’s Joy is regarded as her masterwork. Tracks from it can be found on this compilation, as can a couple of interesting covers: Joni Mitchell’s “All I Want” and Bobby Gentry’s “Ode To Billy Joe,” both of which show how Krog brought jazz aesthetics to pop songs of the day. “I remember that there was a lot of buzz around Blue, and Joni Mitchell is, as everybody knows, a very talented singer and songwriter,” says Krog in the new liner notes.

“Glass" and “Tystnaden" are the two previously unreleased finds from the archives, the former written for a British documentary in 1997, the latter a soundscape improvisation from a 1963 studio session with Lars Werner on piano, Kurt Lindgren on bass, and Janne Carlsson on drums. The compilation rounds off with the “Psalm” movement from John Coltrane’s monumental piece, A Love Supreme. Krog’s version came at suggestion of the man himself. “It was John who pointed to the text on the inner sleeve of the Impulse! LP and said, ‘Karin, look. Why don’t you sing this?’” she remembers.

Krog remains fiercely productive, recording, performing, and running Meantime records from her and John’s villa near Oslo. Now 77, she’s showing no signs of slowing down. “Everybody has to retire at some point, but I believe that once a musician, you’re always a musician,” she says. “If I can’t stand up and sing on stage anymore, I can always do it sitting down!”

Curated with Krog’s own input, this anthology showcases her best recordings from 1963 to 1999, including songs from 1968’s groundbreaking Joy, her 1970 Dexter Gordon collaboration Some Other Spring, her pop-jazz masterwork 1974’s We Could Be Flying, tracks from the Japanese only Different Days, Different Ways which focus on 1970-72 experimental vocal works, and previously unreleased tracks.

Don't Just Sing

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Kendra Shank Quartet - Mosaic

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 66:42
Size: 166,1 MB
Art: Front

(5:06)  1. So Far Away
(6:14)  2. Life's Mosaic
(8:46)  3. Reflections in Blue/ Blue Skies
(4:40)  4. Laughing at Life/ Smile
(4:53)  5. The Shining Sea
(8:47)  6. Water From Your Spring/ Beautiful Love
(6:43)  7. For Duke
(4:43)  8. All of You
(5:30)  9. Time Remembered
(6:36) 10. I'm Movin' On
(4:38) 11. I'll Meet You There

Kendra Shank is a complete vocalist an appealing and intelligent interpreter of known and unknown material, a startlingly inventive improviser and the possessor of a rich, darkish voice that draws in the listener with feelings both familiar and brand new. Mosaic is a beautiful collection of tunes from favorite composers some her friends, others her inspirations, all now her musical family.

Right from the start Shank makes it known that what matters is expressively emotional music through a poignant ballad reading of the Carole King pop hit "So Far Away." She's gorgeously complemented by the incandescent clarinet of Billy Drewes. Pianist Frank Kimbrough, bassist Dean Johnson and drummer Tony Romero her regular group lock together tightly but manage to give each other the space to expand. Drewes and guitarist Ben Monder are guests but they become part of the same dynamic.

Shank draws from composers as diverse as Irving Berlin, Cole Porter and Johnny Mandel on the longtime standard side and from some contemporary wizards such as Kirk Nurock and Kimbrough. Lyricists John and Paula Hackett turn Cedar Walton's "Mosaic" into "Life's Mosaic" and it's buoyed by the singer's mysterious "Eastern" improvisations and the tenor obligati by Drewes and Monder's sensitive guitar. Kimbrough and his wife, vocalist Maryanne DeProphetis, have contributed the noble "For Duke" and Shank finds the sensuous majesty in both the tune and its original inspiration. Nurock is a notably prolific composer of a broad array of tunes and Kendra mines treasure in two the lightly anthemic "I'm Movin' On" (with lyrics by another vocalist, Judy Niemack) and the hymn-like adaptation of texts by the 13th century Sufi poet, Rumi, "I'll Meet You There."  Mosaic reflects what feels like just a part of Shank's vast and complex interests but it becomes, as with all of her recordings, a world unto itself. ~ Donald Elfman http://www.allaboutjazz.com/mosaic-kendra-shank-challenge-records-review-by-donald-elfman.php

Personnel: Kendra Shank: voice; Frank Kimbrough: piano; Dean Johnson: bass; Tony Moreno: drums; Billy Drewes: soprano and tenor saxophones, clarinet; Ben Monder: guitar.

Mosaic

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The Harry Allen And Joe Cohn Quartet - Hey, Look Me Over

Styles: Saxophone And Guitar Jazz
Year: 2004
File: MP3@320K/s
Time: 60:30
Size: 138,7 MB
Art: Front

(6:30)  1. With the Wind and the Rain in Your Hair
(6:07)  2. Take Four
(6:10)  3. It's Been a Long, Long Time
(6:19)  4. Hey, Look Me Over
(5:29)  5. Seven Come Eleven
(6:23)  6. I'll Only Miss Her When I Think of Her
(6:08)  7. Travisimo
(6:32)  8. Get Out
(3:18)  9. Pick Yourself Up
(7:30) 10. Danielle

The Harry Allen-Joe Cohn Quartet was recently nominated for the best small ensemble of the year by the Jazz Journalist Association for its 2006 Jazz Awards. Hey, Look Me Over offers several convincing reasons why. Playing a selection of jazz standards favoring the harmonious marriage of the tenor and guitar, Allen and Cohn fashion ten tracks of brisk and mellow music with a good dose of swing. Their quartet, featuring bassist Joel Forbes and drummer Chuck Riggs, performs regularly on the New York jazz scene. Influenced by legendary saxophonist Stan Getz, Allen chose a staple of Getz's repertoire for the opener in "With the Wind and the Rain in Your Hair" to demonstrate his talents on tenor. The band opens up in swinging style with the Sammy Cahn tune "It's Been A Long, Long Time," featuring respectable solos by the leaders. The title track, a showcase piece for the band, finds Cohn taking center stage with a romp on guitar, followed by Forbes on bass and finishing with a high-pitched tenor statement by Allen.


The group turns soft and mellow on the Cahn/Van Heusen ballad "I'll Only Miss Her When I Think Of Her," with a deliciously soft and sleepy melody. Allen and Cohn use the familiar "Pick Yourself Up" to play off each other, going back and forth on this short and fun track. One of three compositions by Al Cohn (Joe Cohn's dad), and perhaps the best on this album, is "Danielle," played like a soft samba. Riggs uses the brushes, Allen does his best Getz interpretation, and Cohn strums the guitar like Charlie Byrd on this beautiful and memorable closer. Hey, Look Me Over is a truly pleasant set of colorful and tasteful charts performed with grace and elegance. Allen and Cohn form the nucleus of a formidable, first-rate combo with a distinct style of its own. Take a hint from the title and look this one over... you may like what you hear. ~ Edward Blanco  http://www.allaboutjazz.com/hey-look-me-over-harry-allen-arbors-records-review-by-edward-blanco.php

Personnel: Harry Allen: tenor saxophone; Joe Cohn: guitar; Joel Forbes: bass; Chuck Riggs: drums.

Hey, Look Me Over

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Kenny Barron & The Brazilian Knights - Kenny Barron & The Brazilian Knights

Styles: Brazilian Jazz
Year: 2013
File: MP3@320K/s
Time: 73:32
Size: 169,2 MB
Art: Front

( 6:03)  1. Rapaz De Bem
( 4:47)  2. Já Era
( 7:11)  3. Ilusão À Toa
(11:13)  4. Só Por Amor
( 5:06)  5. Curta Metragem
( 6:57)  6. Nós
( 5:33)  7. Triste
( 7:16)  8. Sonia Braga
( 7:59)  9. Tristeza De Nós Dois
( 4:14) 10. Chorinho Carioca
( 7:07) 11. São Conrado

Jazz pianist Kenny Barron celebrates the music of Brazil on his 2013 studio album, Kenny Barron & the Brazilian Knights. Here, Barron performs a variety of songs from the late Johnny Alf, as well as composer/harmonica player Maurício Einhorn, who also joins Barron on the album. Also joining Barron are such luminaries as trumpeter Claudio Roditi, saxophonist Idriss Boudrioua, drummer Rafael Barata, guitarist Lula Galvão, bassist Sérgio Barrozo, and keyboardist Alberto Chimelli. This is highly engaging Brazilian jazz. ~ Matt Collar  http://www.allmusic.com/album/kenny-barron-the-brazilian-knights-mw0002541118

Personnel: Kenny Barron (piano); Lula Galvao (acoustic guitar); Maurício Einhorn (harmonica); Idriss Boudrioua (alto saxophone); Claudio Roditi (flugelhorn); Rafael Barata (drums); Sérgio Barrozo.

Kenny Barron & The Brazilian Knights

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David Benoit & Jane Monheit - 2 In Love

Styles: Piano And Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 39:09
Size: 90,2 MB
Art: Front

(3:26)  1. Barcelona Nights
(4:28)  2. This Dance
(5:14)  3. Too In Love
(2:55)  4. Dragonfly
(3:27)  5. Love Will Light The Way
(3:15)  6. Love In Hyde Park
(3:45)  7. The Songs We Sang
(4:52)  8. Fly Away
(3:59)  9. Something's Gotta Give
(3:42) 10. Love Theme From Candide / Send In The Clowns

David Benoit’s 2 In Love, featuring singer/songwriter Jane Monheit is on the crest of a new style in which his Grammy-nominated pianism and sonic instrumentals are now paired with Jane’s vocal prowess. Their new sound, heightened and shaped as a new form of musical expression, validates the fact that few contemporary jazz musicians have achieved as much notoriety or had such an impact as David Benoit. The 61-year old Benoit is revered as one of the founding fathers of contemporary jazz and this pairing with 37-year old Jane Monheit serves as a splendid cross-generational effort that is sure to appeal to their fans around the world. This is David Benoit’s first release with a vocalist and he couldn’t have chosen a better one than the Grammy Award-nominated cool-toned Jane Monheit. Together they present a rich and comprehensive performance of ten songs culled from a variety of styles including ballads, mid-tempo, neo-classical, Latin, Pop and Broadway. They are supported by an alternating rhythm section which features drummer Jamey Tate, Clayton Cameron, percussionist Lauren Kosty, guitarist Pat Kelley and bassists David Hughes and John Clayton. Guest string players Michelle Suh on violin and cellist Cathy Biagini add their impressive accompaniment to several songs including “Dragonfly,” a waltz, “Something’s Got To Give,” from the play of the same name written by Benoit with long-time collaborator Mark Winkler and “The Songs We Sang.”

Along with Jane Monheit, three lyricists Mark Winkler, Lorraine Feather and Spencer Day illuminated Benoit’s musical concepts with fresh lyrics that heighten his exemplary abilities to understand and accompany singers. Lorraine Feather’s lyrics to “Barcelona Nights” were inspired by Benoit’s travels to Spain. Jane sings this song with vigor and passion as the band members provide the imagery, textures and imaginary hi-res clips of a night in Barcelona. The song unites a number of important currents in Latin music particularly the groove and infectious rhythms with elements of American contemporary jazz. Benoit is prolific across a plethora of styles and genres and on his heartfelt piano solo piano performance of “Love Theme From Candide"/”Send In The Clowns” he conveys his remarkable talents on songs from Broadway and the Great American Songbook. His art of instrumental storytelling is superb and his choice of repertoire makes this recording worth several listens. Fans of David Benoit and Jane Monheit will consider their 2 In Love collaboration as having met the standards set by such vocalist/pianist pairings as pop vocalist Diana Ross and pianist Lionel Richie or jazz vocalist Dee Daniels and pianist Cyrus Chestnut’s performances together. 

Jane’s incredible four-octave range, phrasing, and melodic/rhythmic exploration of David’s new adult contemporary music works well together and brings both of their careers into a broader cultural context. In addition to the wonderful arrangements, all of the musicians excel in conceiving a sound that you are sure to enjoy. ~ Paula Edelstein  http://www.axs.com/david-benoit-pairs-with-jane-monheit-on-new-recording-titled-2-in-love-51190

2 In Love

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Claude 'Fiddler' Williams - My Silent Love Album

Styles: Violin And Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 56:41
Size: 130,5 MB
Art: Front

(2:51)  1. C Jam Blues
(3:31)  2. Fiddler's Dream
(3:05)  3. Sweet Georgia Brown
(4:20)  4. That Certain Someone
(6:56)  5. Canadian Sunset
(2:55)  6. From 4 to 6
(4:43)  7. All Of Me
(5:43)  8. Blue Moon
(4:31)  9. Exactly Like You
(5:06) 10. My Silent Love
(4:01) 11. For Basie
(5:05) 12. You Are My Desire
(3:47) 13. Exactly Like You

Decades after playing with Andy Kirk, Nat King Cole and Count Basie, this fantastic guitarist/fiddler started touring and recording again in the '70s. This Black & Blue LP from that decade features his takes on C Jam Blues; All of Me; Blue Moon; Exactly Like You , and more! ~ Editorial Reviews  http://www.amazon.com/My-Silent-Love-Claude-Williams/dp/B000025025

Personnel: Claude "Fiddler" Williams (guitar, violin); Jay McShann, André Persiani (piano); Gus Johnson (drums)

My Silent Love Album

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