Andy Farber & His Orchestra - This Could Be The Start Of Something Big

Bitrate: MP3@320K/s
Time: 59:03
Size: 135.2 MB
Styles: Swing, Big band
Year: 2010
Art: Front

[4:12] 1. Bombers
[4:45] 2. Space Suit
[3:49] 3. Body & Soul
[3:39] 4. This Could Be The Start Of Something Big
[5:11] 5. It Is What It Is
[4:00] 6. Broadway
[3:45] 7. Roll 'em Pete
[4:49] 8. Midnight, The Stars & You
[4:21] 9. 52nd Street Theme
[4:26] 10. Short Yarn
[3:48] 11. The Man I Love
[3:35] 12. High Anxiety
[4:18] 13. Jack The Bellboy
[4:18] 14. Seems Like Old Times

The sight and sound of one of the classic big bands in full flight must have been something to behold. For those fans of big band jazz who never got to experience such a thing, as well as for those who did and remember it fondly, Andy Farber And His Orchestra bring the sound back with a bang on This Could Be The Start Of Something Big.

Saxophonist Farber arranged and conducted all of the tunes, as well as writing four numbers. As a former member of the Lincoln Center Jazz Orchestra and Musical Director, arranger or conductor for Jon Hendricks, Joe Lovano, Shirley Horn and B.B. King, to name just a few, Farber's credentials for this project are strong. He takes what drummer Alvester Garnett, who wrote the liner notes, terms an "Ellingtonian aesthetic" of writing for specific players, while emphasizing the ensemble rather than soloists. The approach works superbly here—the soloists are impressive, but it's the sound of the full 18-piece band that really leaves a lasting, positive, impression.

This Could Be The Start Of Something Big doesn't steer the big band into any new territory, but it certainly emphasizes its vitality and relevance. Farber's Orchestra swings like a big band should, whether playing standards or interpreting Farber's originals. It's a terrific ensemble, with a strong and engaging sound. ~Bruce Lindsay

Andy Farber: alto saxophone, tenor saxophone, baritone saxophone, flute; Chuck Wilson: alto saxophone; Jay Brandford: alto saxophone; Dan Block: tenor saxophone, clarinet; Marc Phaneuf: tenor saxophone; Kurt Bacher: baritone saxophone; Brian Paresi; Bob Grillo: guitar; Kenny Ascher: piano; Jennifer Vincent: bass; Alvester Garnett: drums; Mark Sherman: vibraphone (8); Jon Hendricks: vocals (4, 7); John Hendricks & Co Singers (4, 7): Aria Hendricks, Kevin Fitzgerald Burke; Jerry Dodgion: alto saxophone (6).

This Could Be The Start Of Something Big

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McCoy Tyner - Illumination!

Bitrate: MP3@320K/s
Time: 57:23
Size: 131.4 MB
Styles: Post bop, Piano jazz
Year: 2004
Art: Front

[6:10] 1. Illuminations
[8:46] 2. Angelina
[5:55] 3. New Orleans Stomp
[5:33] 4. Come Rain Or Come Shine
[5:21] 5. Soulstice
[4:49] 6. Blessings
[6:23] 7. If I Should Lose You
[3:12] 8. The Chase
[3:58] 9. West Philly Tone Poem
[7:12] 10. Alone Together

In his mid-'60s at the time of this pair of studio sessions, McCoy Tyner is hardly the prototype of a musician re-creating past hits, instead he signals that he still has a few surprises up his sleeve. One thing apparent right away in his opener, "Illuminations," is that he is willing to stay in the background a good deal of the time, focusing the spotlight on bandmembers Terence Blanchard, Gary Bartz, Christian McBride, and Lewis Nash. The leader's driving Latin-flavored "Angelina" features his intricate solo as its centerpiece, though his instrument still seems mixed into the background. Perhaps the greatest surprise among his own works is the playful strutting "New Orleans Stomp," in which his down-home piano will lift a few eyebrows, accompanied by Blanchard's almost vocal-like trumpet. "The Chase" is a
brief but rapid-fire workout with the rhythm section that will sound more familiar to longtime fans of Tyner. Bartz penned the strident post-bop vehicle "Soulstice," while Blanchard contributed the moody "Blessings," which blends a dark bass vamp with an uplifting Latin-flavored unison line by the two horns. McBride's "West Philly Tone Poem" features his warm arco bass in an inspired duet with the leader. The trio of standards heard here include "Alone Together" featuring Blanchard's sassy trumpet, while the relaxed but upbeat "If I Should Lose You" finds Bartz switching to soprano sax. This is yet another essential release by the always enjoyable McCoy Tyner. ~Ken Dryden

Illumination!

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Joanna Pascale - Through My Eyes

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 59:09
Size: 136,9 MB
Art: Front

(5:01)  1. Wouldn't It Be Loverly
(7:27)  2. The Night Has a Thousand Eyes
(6:14)  3. Easy To Love
(6:40)  4. Blue Gardenia
(5:43)  5. Our Day Will Come
(5:45)  6. I Hadn't Anyone Till You
(6:24)  7. P.S. I Love You
(5:01)  8. You Turned The Tables On Me
(4:56)  9. Something Wonderful
(5:52) 10. When I Grow Too Old To Dream

Philadelphia native Joanna Pascale ably represents her soulful hometown on Through My Eyes, demonstrating why she's a favorite of some of the city's finest musicians, including preeminent drummer Mickey Roker an expert on swing if there ever was one. Pascale has obviously done her homework, and spent some quality time in the woodshed. Sidestepping what could be another tired retread of the Great American Songbook by yet another generic vocalist, Pascale shows she's got the taste and skills to pull off a pleasantly relaxed set of standards. The vocalist purrs her way through "Wouldn't It Be Loverly" with languid, far-behind-the-beat phrasing, while pianist Andrew Adair serves up the blues flavor to match. Saxophonist Tim Warfield makes an excellent complimentary melodic foil to the bell-like clarity of Pascale's pitch, and the whole band's airy accompaniment expertly cushions the singer's sassy delivery. Elsewhere, she demonstrates rhythmic authority and playfulness on "Easy to Love," stretching syllables for dramatic and ear-catching effect. Ballads like "Blue Gardenia" are particularly pleasant, as Pascale invests the lyrics with real warmth and longing melancholy. Her casual, almost blasé delivery of "P.S. I Love You" is reminiscent of Shirley Horn's signature breathy floatation over a molasses-like tempo. And Pascale's ability to tell a story is evident on "Something Wonderful," where the clarity of the lyrics is put on center stage, with a dramatic intro spotlighting the duo of Pascale and bassist Madison Rast.

Some tunes, such as "The Night Has a Thousand Eyes," sound perfectly competent yet somewhat drowsy and anonymous beneath an over-polished gloss, requiring something more nakedly emotional. The impression is one of solid craftsmanship, but without the chance-taking (and therefore sometimes pleasingly ragged-sounding) risk and highly personal imprints that are at the heart of great jazz performances.

Nonetheless, the band sounds fresh and well-rehearsed as it stretches the tunes towards the 5-7-minute mark. Whether interpreting a variation on Ahmad Jamal's "Poinciana" beat ("Our Day Will Come"), churning out a Latin groove ("I Hadn't Anyone Till You"), or just digging deep and swinging hard in the pocket ("You Turned the Tables on Me," "When I Grow Too Old to Dream"), it's the group's subtle and seasoned interplay that gives Pascale the backing she needs to do her thing. Special mention also goes to the top-notch recording quality, which is clear, well-rounded and full-bodied. Pascale appears to be at the start of a journey that is well worth keeping an ear on. In the meantime, she's representing her native City of Brotherly Love with class, grace and swing. ~ Greg Camphire  http://www.allaboutjazz.com/through-my-eyes-joanna-pascale-stiletto-records-review-by-greg-camphire.php

Personnel: Joanna Pascale: vocals; Tim Warfield: saxophone; Andrew Adair: piano; Madison Rast: bass; Dan Monaghan: drums.

Through My Eyes

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Ruby Braff & Scott Hamilton - A First

Styles: Trumpet And Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 42:18
Size: 97,1 MB
Art: Front

(6:03)  1. Romance in the Dark
(4:17)  2. When a Woman Loves a Man
(7:28)  3. Rockin' Chair
(4:33)  4. Dinah
(5:38)  5. All My Life
(4:53)  6. Shine
(4:36)  7. Medley: If You Were Mine/I Wished on the Moon
(4:48)  8. Bugle Blues

Although it is implied with its title that this was the first collaboration between cornetist Ruby Braff and tenor-saxophonist Scott Hamilton, they had recorded a date back in December 1983 for the Swedish Phontastic label. Accompanied by Hamilton's regular quartet of the period (pianist John Bunch, guitarist Chris Flory, bassist Phil Flanigan and drummer Chuck Riggs), Braff and Hamilton inspire each other and play some explosive and consistently passionate solos. Highlights include a surprisingly hard-swinging "Rockin' Chair," "Dinah," "All My Life" and "Bugle Blues." Recommended. ~ Scott Yanow  http://www.allmusic.com/album/a-first-mw0000198500

Personnel: Ruby Braff (trumpet), Scott Hamilton (tenor saxophone), John Bunch (piano), Chris Flory (guitar), Phil Flanigan (bass), Chuck Riggs (drums).

A First

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Matthieu Boré - Roots

Styles:  Vocal
Year: 2012
File: MP3@320K/s
Time: 37:04
Size: 85,3 MB
Art: Front

(3:35)  1. Bye Baby Bye-Bye
(2:39)  2. I Wanna Be Your Man
(3:30)  3. Thank You Girl
(3:46)  4. A Little Talk With Thee
(2:51)  5. Girls and Boys
(3:26)  6. Baby I Want You So Bad
(2:56)  7. Wake Me Up Before You Go-Go
(2:55)  8. Too Much in Love to See
(3:44)  9. Sign Your Name
(3:21) 10. Yeh Yeh
(4:15) 11. Don't Try to See Me Again

Jelly Roll Morton wrote, ''Any music can be played in jazz, since you know how to do it. No matter what you play but the way you play it.'' This famous quotation describes the music of French jazz vocalist Matthieu Bore and the direction of the repertoire of his new album, Roots, perfectly. The album includes a mix of original works and pop standards in a fascinating blend that is easy on the ear. Bore reworks an array of hits from the 80s (favorites of his youth) such as ''Wake Me Up Before You Go-Go'' (George Michael) and ''Girls & Boys'' (Prince), giving them a Rhythm 'n Blues and soul-jazz sound. ~ Editorial Reviews  http://www.amazon.com/Roots-Matthieu-Bore/dp/B00960AJ74

Roots

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Terence Blanchard - Breathless

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 78:04
Size: 178,8 MB
Art: Front

( 5:49)  1. Compared to What
( 8:52)  2. See Me As I Am
(14:33)  3. Everglades
( 4:38)  4. Breathless
( 8:13)  5. Confident Selflessness
( 4:12)  6. Shutting Down
( 6:08)  7. Soldiers
( 3:57)  8. Samadhi
( 4:04)  9. Talk to Me
( 2:48) 10. Tom & Jerry
( 4:28) 11. I Ain't Got Nothin' but Time
( 5:24) 12. Cosmic Warrior
( 4:53) 13. Midnight

Terence Blanchard's 2013 return to Blue Note, Magnetic, built upon his decades-long history of post-bop dynamism with a forward-thinking approach that blended edgy, modal improvisation with a sophisticated, genre-crossing compositional style. It was a concept he had been investigating on his previous efforts Bounce (2003), Flow (2005), and Choices (2009), and, though it had been years since Blanchard was considered a young lion, the eclecticism of the album matched the work of many of his younger contemporaries like trumpeter Christian Scott and pianist Robert Glasper, the latter of whom even played on Bounce. In keeping with this boundary-pushing trajectory, Blanchard's follow-up, 2015's Breathless, finds the New Orleans native jumping wholeheartedly into a funky stew of R&B, hip-hop, and fusion-influenced jazz. Blanchard is joined here by his band the E-Collective, an adroit group of young players centered around gifted keyboardist Fabian Almazan, the only carry-over from the Magnetic sessions.

 Along with Almazan, the E-Collective features Charles Altura (guitar), Donald Ramsey (bass), and Oscar Seaton (drums). Also showcased throughout is vocalist PJ Morton, who has released his own R&B- and contemporary gospel-infused albums and toured as a keyboardist with the pop group Maroon 5. Ambitious, adventurous, and steeped in the kind of sticky, psychedelic jazz-funk pioneered by trumpeter Miles Davis in the '70s, Breathless is Blanchard's most electrified album to date. While Blanchard has long drawn comparisons to Davis, they've mostly referenced the iconic trumpeter's classic quintet sides from the late '60s and not his effects-drenched fusion period. Similarly, while on previous efforts Blanchard has flirted with an electronic sound, he's never gone this far in a contemporary jazz direction. Here we get a very '90s hip-hop/jazz-infused reworking of Les McCann's classic 1969 socio-political anthem "Compared to What," several languid, new agey spoken word pieces with Morton, and some expansive, groove-oriented cuts like the bluesy midtempo "See Me as I Am" that allow for plenty of spaced-out solos. 

Also intriguing are Morton's several slow jam vocal numbers, including an inspired cover of Hank Williams' "I Ain't Got Nothin' But Time,' which replaces the country legend's cowboy twang and fiddles with sweeping, Stevie Wonder-esque orchestral synth backgrounds. Also compelling is the languid, dreamy ballad "Everglades," which impossibly balances Debussy-influenced impressionism with angular, synthy, '80s electro-funk. Ultimately, while Breathless is a break from the aggressive, acoustic swing that has marked much of Blanchard's career, it nonetheless retains all the jaw-dropping artistry and soulful creativity we have come to expect, albeit delivered in a vibrant, electric style. ~ Matt Collar  http://www.allmusic.com/album/breathless-mw0002840598

Personnel: Terence Blanchard (trumpet); Charles Altura (guitar); Fabian Almazan (piano, synthesizer); Oscar Seaton (drums).

Breathless

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Red Norvo - Mister Swing

Bitrate: MP3@320K/s
Time: 43:38
Size: 99.9 MB
Styles: Swing
Year: 1999/2010
Art: Front

[4:16] 1. Seven Come Eleven
[2:40] 2. Which Switch Witch
[5:06] 3. Lagwood Walk
[5:00] 4. The Sergeant On Furlough
[4:34] 5. Too Marvelous For Words
[4:40] 6. Blue Skies
[4:48] 7. Purple Feathers
[3:06] 8. The Bass On The Barroom Floor
[5:07] 9. In A Mellow Tone
[4:15] 10. Flying Home

This British LP has ten of vibraphonist Red Norvo's 16 V-Discs of 1943-44. Eight of the selections feature Norvo either on Oct. 28 or Nov. 16, 1943 heading a group also including tenor saxophonist Flip Phillips (shortly before he joined Woody Herman), trumpeter Dick Pierce, trombonist Dick Taylor, clarinetist Aaron Sachs, pianist Ralph Burns, bassist Clyde Lombardi and drummer Johnny Blowers; Helen Ward takes a vocal on "Too Marvelous for Words." The music is essentially late-period swing, with Phillips often taking solo honors. The remaining two selections (from Aug. 14, 1944) showcase Norvo and Sachs in a sextet also including pianist Danny Negri, guitarist Remo Palmieri, bassist Al Hall and drummer Specs Powell. The personnel and dates are only partly accurate in the brief liner notes, but the somewhat rare music (some of which has since been reissued) is quite enjoyable and finds Norvo in prime form. ~Scott Yanow

Mister Swing

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Elizabeth Castro & Ricardo Miranda - Jazz Lookin' For You

Bitrate: MP3@320K/s
Time: 57:40
Size: 132.0 MB
Styles: Vocal jazz
Year: 2003
Art: Front

[5:12] 1. Cry Me A River
[5:44] 2. I've Got You Under My Skin
[5:15] 3. Alfonsina Y El Mar
[5:38] 4. Chega De Saudade
[4:04] 5. The Nearness Of You
[4:25] 6. My Favorite Things
[6:07] 7. What Are You Doing The Rest Of Your Life
[4:55] 8. Something
[3:48] 9. The Old Country
[4:42] 10. Your Song
[3:21] 11. Just Looking For You
[4:23] 12. You Don't Know What Love Is

Elizabeth Castro, cantante de jazz, y Ricardo Miranda, pianista y musicólogo, ofrecen un recorrido por los standards de jazz y musicales de Broadway. Sus actuaciones constituyen un homenaje al jazz vocal con un repertorio que comprende desde el swing de Tony Bennett o Sinatra, el scat de Ella Fitzgerald, hasta las últimas versiones del jazz vocal actual.

Jazz Lookin' For You

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Kuh Ledesma - Unforgettable

Bitrate: MP3@320K/s
Time: 51:25
Size: 117.7 MB
Styles: Easy Listening
Year: 1985/2014
Art: Front

[2:51] 1. Fascinating Rhythm
[3:54] 2. It Had To Be You
[3:15] 3. Too Marvelous For Words
[2:59] 4. Singing In The Rain
[4:11] 5. All The Way
[2:15] 6. The Lady Is A Tramp
[3:40] 7. All The Things You Are
[3:34] 8. The Nearness Of You
[2:48] 9. Embraceable You
[3:52] 10. Unforgettable
[3:21] 11. As Time Goes By
[3:29] 12. If I Give My Heart To You
[4:08] 13. An Affair To Remember
[3:43] 14. You'll Never Know
[3:18] 15. When I Fall In Love

In 1985, Philippine female singer Kuh Ledesma released Unforgettable, an album containing time-honored popular songs by such esteemed American songwriters as George Gershwin, Jerome Kern, Richard Rodgers, and Hoagy Carmichael. Throughout the album, Kuh Ledesma imbues a delicate strength, delving into the lyrics and giving the songs a sensuous glow. Kuh Ledesma has much talent, and is easily one of the Philippines' best singers. One song performed here is the oft-recorded "My Funny Valentine," composed by Richard Rogers and Lorenz Hart. Kuh Ledesma applies an introspective, delicate touch to this beautiful ballad, and the piano adds a warm incandescence. Also performed is the lovely "Embraceable You," composed by George Gershwin, arguably America's greatest composer and his brother, the lyricist Ira Gershwin. Once again, Kuh Ledesma injects a quiet elegance, reminiscent of Ella Fitzgerald's performance of "Embraceable You" on the seminal 1959 recording Ella Fitzgerald Sings the George and Ira Gershwin Songbook. Another famous song here is the silky "Unforgettable," a big hit for Nat "King" Cole in the early '50s. Kuh Ledesma is self-assured here, confidently navigating the song's tender nuances. All songs on Unforgettable emote a quiet elegance. The music on Unforgettable is beautiful, and there is a wonderful, graceful ambience throughout the album. Unforgettable achieves international standards, although this style of song does not attract a mass audience. Still, more people should listen to albums such as Kuh Ledesma's Unforgettable. ~David Gonzales

Unforgettable

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George Shearing, Red Norvo - Midnight On Cloud 69

Styles: Piano And Vibraphone Jazz
Year: 1956
File: MP3@320K/s
Time: 38:49
Size: 90,2 MB
Art: Front

(3:21)  1. Sorry Wrong Rumba
(2:50)  2. Cotton Top
(3:04)  3. Be Bop's Fables
(3:10)  4. Midnight On Cloud 69
(3:50)  5. Little White Lies
(4:11)  6. I'm Yours
(3:13)  7. Moon Over Miami
(2:44)  8. Cherokee
(3:11)  9. Life With Feather
(2:24) 10. Four Bars Short
(2:37) 11. Time And Tide
(4:08) 12. Night And Day

For a long stretch of time in the 1950s and early '60s, George Shearing had one of the most popular jazz combos on the planet so much so that, in the usual jazz tradition of distrusting popular success, he tended to be underappreciated. Shearing's main claim to fame was the invention of a unique quintet sound, derived from a combination of piano, vibraphone, electric guitar, bass, and drums. Within this context, Shearing would play in a style he called "locked hands," which he picked up and refined from Milt Buckner's early-'40s work with the Lionel Hampton band, as well as Glenn Miller's sax section and the King Cole Trio. Stating the melody on the piano with closely knit, harmonized block chords, with the vibes and guitar tripling the melody in unison, Shearing sold tons of records for MGM and Capitol in his heyday. The wild success of this urbane sound obscures Shearing's other great contribution during this time, for he was also a pioneer of exciting, small-combo Afro-Cuban jazz in the '50s. 

Indeed, Cal Tjader first caught the Latin jazz bug while playing with Shearing, and the English bandleader also employed such esteemed congueros as Mongo Santamaria, Willie Bobo, and Armando Peraza. As a composer, Shearing was best known for the imperishable, uniquely constructed bop standard "Lullaby of Birdland," as well as "Conception" and "Consternation." His solo style, though all his own, reflected the influences of the great boogie-woogie pianists and classical players, as well as those of Fats Waller, Earl Hines, Teddy Wilson, Erroll Garner, Art Tatum, and Bud Powell and fellow pianists long admired his light, refined touch. He was also known to play accordion and sing in a modest voice on occasion.

Shearing, who was born blind, began playing the piano at the age of three, receiving some music training at the Linden Lodge School for the Blind in London as a teenager but picking up the jazz influence from Teddy Wilson and Fats Waller 78s. In the late '30s, he started playing professionally with the Ambrose dance band and made his first recordings in 1937 under the aegis of fellow Brit Leonard Feather. He became a star in Britain, performing for the BBC, playing a key role in the self-exiled Stéphane Grappelli's London-based groups of the early '40s, and winning seven consecutive Melody Maker polls before emigrating in New York City in 1947 at the prompting of Feather. Once there, Shearing quickly absorbed bebop into his bloodstream, replacing Garner in the Oscar Pettiford Trio and leading a quartet in tandem with Buddy DeFranco. In 1949, he formed the first and most famous of his quintets, which included Marjorie Hyams on vibes (thus striking an important blow for emerging female jazz instrumentalists), Chuck Wayne on guitar, John Levy on bass, and Denzil Best on drums. Recording briefly first for Discovery, then Savoy, Shearing settled into lucrative associations with MGM (1950-1955) and Capitol (1955-1969), the latter for which he made albums with Nancy Wilson, Peggy Lee, and Nat King Cole. 

He also made a lone album for Jazzland with the Montgomery Brothers (including Wes Montgomery) in 1961, and began playing concert dates with symphony orchestras. After leaving Capitol, Shearing began to phase out his by-then-predictable quintet, finally breaking it up in 1978. He started his own label, Sheba, which lasted for a few years into the early '70s and made some trio recordings for MPS later in the decade. In the '70s, his profile had been lowered considerably, but upon signing with Concord in 1979, Shearing found himself enjoying a renaissance in all kinds of situations. He made a number of acclaimed albums with Mel Tormé, raising the singer's profile in the process, and recorded with the likes of Ernestine Anderson, Jim Hall, Marian McPartland, Hank Jones, and classical French horn player Barry Tuckwell. He also recorded a number of solo piano albums where his full palette of influences came into play. He signed with Telarc in 1992 and from that point through the early 2000s continued to perform and record, most often appearing in a duo or trio setting. Shearing, who had remained largely inactive since 2004 after a fall in his New York City apartment, died of congestive heart failure at New York's Lenox Hill Hospital on February 14, 2011. He was 91. 

Bio ~ Richard S.Ginell  http://www.allmusic.com/artist/george-shearing-mn0000642664/biography

Personnel: George Shearing (piano); Marjorie Hyams, Red Norvo (vibraphone); Tal Farlow, Chuck Farlow (guitar); John Levy, Charles Mingus (bass); Denzil Best (drums).

Midnight On Cloud 69

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John Mclaughlin - Electric Guitarist

Styles: Guitar Jazz, Fusion
Year: 1978
File: MP3@320K/s
Time: 39:18
Size: 90,2 MB
Art: Front

(5:49)  1. New York In My Mind
(7:09)  2. Friendship
(6:55)  3. Every Tear From Every Eye
(7:45) 4. Do You Hear The Voices That You Lefeat. Behind?
(4:27)  5. Are You The One? Are You The One?
(3:46)  6. Phenomenon Compulsion
(3:24)  7. My Foolish Heart

If you listen to McLaughlin's version of "My Foolish Heart" from 1978's Johnny McLaughlin - Electric Guitarist, it's hard to logically explain how the same guitarist had also produced the sounds found on so many of his earlier records. It's hard to reconcile this tune with his approach on his debut Extrapolation, Miles' Tribute to Jack Johnson, Larry Coryell's Spaces, and various recordings by the Mahavishnu Orchestra and Shakti. None of those earlier performances would have prepared you for McLaughlin's beautiful treatment of Victor Young and Nat Washington's jazz standard. His warm and serene arrangement sounds like the antithesis of what McLaughlin was known for. Electric Guitarist was meant to be a comeback record for McLaughlin. Columbia Records was none too pleased that McLaughlin had produced three straight records with his Indian acoustic world music group Shakti. These records would eventually reach legendary status, but at the time they sold embarrassingly poorly. There was hope at Columbia that Electric Guitarist would bring John McLaughlin back to the top of the record sales heap. In the end, although it sold well, it did not sell as many records as Columbia had hoped.

Electric Guitarist features many of McLaughlin's contemporaries, including Chick Corea, Stanley Clarke, Jack DeJohnette, Billy Cobham, Narada Michael Walden, Carlos Santana, Jerry Goodman, and David Sanborn. There is not one weak cut on the entire album. Electric Guitarist also marks the first recorded use of McLaughlin's scalloped fretboard electric guitar, an idea from his Shakti experience that gave him a brand new sound. McLaughlin was able to bend notes and even chords beyond limits. This technique opened up a whole new vocabulary for his compositions. Key cuts to play really loud include a duet with Billy Cobham, "Phenomenon-Compulsion," and "Are You the One? Are You the One?," featuring Tony Williams and Jack Bruce. This tune harkens back to the great Tony Williams Lifetime that featured McLaughlin, Bruce and the late Larry Young on organ. Even though, for obvious reasons, Young couldn't make this gig, he would have loved this tune. "Do You Hear The Voices You Left Behind," based upon the changes of Coltrane's "Giant Steps," is an unrelenting jazz force that McLaughlin, Chick Corea, Stanley Clarke and Jack DeJohnette play for all they are worth. Many all-star recordings do not live up to their promise. 

This album is not one of them. Johnny McLaughlin- Electric Guitarist was the last important recording of the initial jazz-fusion movement. ~Walter Kolosky  http://www.allaboutjazz.com/electric-guitarist-john-mclaughlin-columbia-records-review-by-walter-kolosky.php

Personnel: John McLaughlin (guitar); David Sanborn (alto saxophone); Jerry Goodman (violin); Stu Goldberd (electric piano, organ; Mini-Moog Synthesizer); Chick Corea (piano, Mini-Moog synthesizer); Patrice Rushen (piano);Tom Coster (organ); Stanley Clarke (acoustic bass); Alphonso Johnson (Taurus bass pedals, bass); Fernando Saunders, Neil Jason, Jack Bruce (bass); Carlos Santana (guitar); Narada Michael Walden Jack DeJohnette, Tony Williams, Billy Cobham (drums); Armando Peraza (congas); Alyrio Lima (percussion).

Electric Guitarist

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Silvana Malta - Céu de Brasília

Styles: Vocal, Latin Jazz
Year: 2005
File: MP3@256K/s
Time: 45:11
Size: 86,5 MB
Art: Front

(5:07)  1. No Mais, Geraes
(5:57)  2. Vera Cruz
(6:00)  3. Didilin
(5:09)  4. Por Causa De você
(4:02)  5. Viver De Amor
(5:27)  6. Céu De Brasília
(3:46)  7. Ana Luiza
(4:41)  8. Mountain Flight
(4:58)  9. Minha Ratinha Campeão

Silvana Malta has been living in Denmark for a number of years, but stems from Brazil, where she sang with the two greats, Hermeto Pascoal og Toninho Horta. Her previous album Céu de Brasilia, won much acclaim and featured among others the legendary percussionist, Airto Moreira. The album was nominated for a Danish World Grammy. http://www.last.fm/music/Silvana+Malta

Personnel: Silvana Malta (vocals); Toninho Horta (vocals, acoustic guitar, electric guitar); Steen Rasmussen (vocals, piano, keyboards); Jonas Johansen (drums); Airto Moreira (percussion).

Céu de Brasília

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Doug Raney Quartet - Blues On A Par

Bitrate: MP3@320K/s
Time: 57:34
Size: 131.8 MB
Styles: Guitar jazz
Year: 1994
Art: Front

[ 6:48] 1. I Concentrate On You
[ 9:17] 2. Estate
[ 7:24] 3. Blues On A Par
[ 6:11] 4. Close Your Eyes
[13:41] 5. When Sunny Gets Blue
[ 5:24] 6. La Mesha
[ 8:46] 7. Midnight Delight

Guitarist Doug Raney has been a resident of Denmark for almost two decades since he moved there at the age of 19 and has matured into a formidable artist in his own right and is well established on the European jazz scene, though it is hard to forget about his famous father and fellow guitarist Jimmy Raney perhaps because of their striking physical resemblance.

Doug and producer Nils Winther have been planning this “back home” session for quite some time. And the result is this exciting CD in which you can hear that New York and the Apple’s brilliant rhythm section gave the guitarist an extra edge.

Blues On A Par

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Barbara Lynn - You'll Lose A Good Thing

Bitrate: MP3@320K/s
Time: 28:11
Size: 64.6 MB
Styles: R&B, Soul
Year: 1963/2006
Art: Front

[1:53] 1. Second Fiddle Girl
[2:17] 2. Give Me A Break
[2:02] 3. Dina And Petrina
[2:12] 4. Lonely Heartache
[2:21] 5. I Warned You Baby
[2:27] 6. I'm Sorry I Met You
[2:35] 7. You'll Lose A Good Thing
[2:17] 8. Heartbreaking Years
[1:42] 9. Teen Age Blues
[2:31] 10. What I Need Is Love
[3:20] 11. You Don't Have To Go
[2:28] 12. Letter To Mommy And Daddy

Barbara Lynn Ozen's smoky voice and fine guitar playing was one of the better blends of soul vocals and blues embellishment. Huey P. Meaux produced this early-'60s record, which featured the classic title track. Other Lynn numbers, like "I'll Suffer," were equally outstanding; Lynn was sometimes tough and confrontational, and tender, inviting or anguished at other times. Meaux didn't clutter the works with unnecessary firepower; his arrangements and charts were just enough to augment Lynn's sturdy vocals. Lynn also wrote ten of the 12 songs. ~Ron Wynn

You'll Lose A Good Thing

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Pat Coil - Java Jazz

Bitrate: MP3@320K/s
Time: 45:17
Size: 103.7 MB
Styles: Easy Listening
Year: 2011
Art: Front

[3:14] 1. You're The Cream In My Coffee
[3:11] 2. Isn't This A Lovely Day
[3:52] 3. The Look Of Love
[3:07] 4. Give Me The Simple Life
[3:17] 5. Softly, As In A Morning Sunrise
[5:07] 6. Black Coffee
[4:10] 7. Days Of Wine And Roses
[5:11] 8. Sunday Kind Of Love
[3:16] 9. Here's That Rainy Day
[3:15] 10. Sunday
[5:00] 11. Easy Living
[2:31] 12. The Coffee Song

Green Hill Productions presents "JAVA JAZZ" -- featuring Pat Coil, if you watch television, listen to the radio, or go to the movies, you have heard Coil and some form of his music. He is an extremely accomplished pianist/synthesist, composer, producer, arranger, programmer, as well as a highly respected studio musician.

Living now in Nashville with his wife and children, Coil continues his successful career composing, recording, performing, producing and arranging. He has composed, produced and performed on hundreds of underscores heard on a variety of media all over the world.

Coil has recorded several solo jazz albums of his own. Since then has recorded with my favorite jazz label Green Hill Productions. ~J. Lovins

Java Jazz

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Chris Connor & Maynard Ferguson - Double Exposure

Bitrate: MP3@320K/s
Time: 35:54
Size: 82.2 MB
Styles: Standards, Vocal jazz
Year: 1961/2005
Art: Front

[3:10] 1. Summertime
[2:33] 2. I Only Have Eyes For You
[5:05] 3. It Never Entered My Mind
[2:36] 4. Two Ladies In De Shade Of De Banana Tree
[4:12] 5. Spring Can Really Hang You Up The Most
[4:20] 6. The Lonesome Road
[2:45] 7. All The Things You Are
[3:36] 8. Black Coffee
[4:23] 9. Happy New Year
[3:10] 10. That's How It Went All Right

Singer Chris Connor was nearing the end of her Atlantic years (which were really her prime) when she recorded this interesting, if not quite classic set with the Maynard Ferguson Orchestra, last reissued on a 1984 LP. With the exception of trumpeter Ferguson, there are few significant solos, and the big band mostly acts as an ensemble. Both Connor and MF were Kenton alumni, and there are moments where the orchestra reminds one of that band, but the focus is mostly on the singer. She is in particularly fine form on "I Only Have Eyes for You," "It Never Entered My Mind," "Spring Can Really Hang You Up the Most" and "The Lonesome Road," although one wishes there was more interplay with the orchestra. ~Scott Yanow

Double Exposure

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Scott Hamilton - Live In Barcelona

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 49:39
Size: 114,0 MB
Art: Front

(8:17)  1. Slow Boat To China
(9:33)  2. Beautiful Friendship
(8:37)  3. Red Wagon
(5:43)  4. You Are Too Beautiful
(9:48)  5. Old Fashioned Love
(5:09)  6. Sweet Georgia Brown
(2:28)  7. Presentacion

The appearance of a disk of Scott Hamilton is good news for jazz fans and for all genuine music lovers. In these times of tribulation, in which the experimental formalism and the music hybrid have replaced the interpretive strength as a framework for creativity, Hamilton is a benchmark of how you can achieve a personal style through a proposal without complexes, which assimilates the speech timeless jazz in its various genres and variations. The choice of the repertoire of standards is the obvious symptom of this provision of Hamilton and his combo for concerts held in the Jamboree Club from Barcelona the days 17th and 18th of December 2010, some of whose performances have been selected for this album. Live in Barcelona is a recording to catch the early catalysts of jazz, its classical fundamentals, its expressive potential, which allow the best tradition reconcile and overcome the emptiness of many experiences that are supposedly innovative and an indication of a aimless time. ~ Javier Vellón, jazz critic  http://www.blaurecords.com/br-web/hamilton_en.html

Personnel: Scott Hamilton saxophone;  Gerardo Nieto piano;  Ignasi González bass;  Esteve Pi drums

Live In Barcelona

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Stride Piano Summit: A Celebration of Harlem Stride & Classic Piano Jazz

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 62:54
Size: 144,8 MB
Art: Front

(5:25)  1. Ain't Misbehavin'
(2:43)  2. Bach Up To Me
(4:34)  3. Old Fashioned Love
(2:12)  4. Eye Opener
(4:39)  5. Dinah
(5:34)  6. Confessin' The Blues
(3:42)  7. Persian Rug
(3:12)  8. Thou Swell
(5:41)  9. Clothes Line Ballet
(3:34) 10. 'Deed I Do
(5:16) 11. Sunday
(2:34) 12. Could It Be I'm Falling In Love
(2:46) 13. Am I Blue
(5:51) 14. Sweet Lorraine
(5:04) 15. All Of Me

Stride Piano Summit was an annual concert with a special group of pianists who gathered to celebrate the genre in San Francisco beginning in 1988; the 1990 edition was the first gathering recorded, featuring a rotating cast of musicians, including Dick Hyman, Ralph Sutton, Mike Lipskin, and, finally, Jay McShann, who is better known for his Kansas City blues. Hyman and Lipskin pair up on several numbers, including a strutting take of "Ain't Misbehavin'" (during which they are also joined by the muted trumpet of Harry "Sweets" Edison) and a rambunctious duo piano take of "'Deed I Do"; Hyman switches to the powerful organ at Davies Symphony Hall to accompany Lipskin (still on piano) for "Persian Rug" and "Thou Swell," two of the numbers Fats Waller recorded on pipe organ during a 1928 session. 

Both of them are featured on a pair of piano solos apiece, with the expected first-rate results. Sutton joins forces with McShann and a rhythm section for "Old Fashioned Love," although they clearly don't mesh together as well as Hyman and Lipskin. Sutton fares better as a soloist in a brief run through "Eye Opener" and a crowd-pleasing rendition of Waller's "Clothes Line Ballet." McShann, who is clearly the odd man out in what is billed as a stride piano event, fares better in his playing of "Sunday" (with Hyman and Edison) and shines with yet another version of his well-known "Confessin' the Blues." In retrospect, a rhythm section seems superfluous when a true stride master is at the piano, but it is likely that the concert producers were trying to add a little variety. This enjoyable date is recommended for stride fans, with Hyman taking top solo honors for the evening. ~ Ken Dryden  http://www.allmusic.com/album/release/stride-piano-summit-a-celebration-of-harlem-stride-classic-piano-jazz-mr0000118088

Personnel: Dick Hyman (piano, organ), Mike Lipskin, Jay McShann (piano, vocal), Ralph Sutton (piano), Harry "Sweets" Edison (trumpet)

Stride Piano Summit

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Cristina Morrison - Baronesa

Styles: Vocal, Jazz Fusion
Year: 2015
File: MP3@320K/s
Time: 64:44
Size: 148,5 MB
Art: Front

(7:24)  1. Corcovado (Quiet Nights of Quiet Stars)
(3:41)  2. The Sky Is in Your Eyes
(4:26)  3. Vocalise for My Mother
(7:28)  4. Cry Me a River
(4:56)  5. Ophelias's Madness
(4:19)  6. La Del Estribo
(6:15)  7. Mi Amargo Placer
(7:21)  8. Nuestro Juramento
(8:15)  9. Spanish Dreamland Ingquisition
(4:05) 10. Princesa Baronesa
(6:28) 11. Light or Dark

This new album is jazz-infused, much like her first album, I Love, but this time around Cristina expands her horizon. Here she sings in four languages and showcases her experience as an actress, singing in different styles and genres including: bolero, drum & bass, cha-cha-cha, lounge, and Arabian rhythms. The result is an eclectic cross-genre world-jazz production. Her lyrics speak of love, dreams, colorful memories, the pain of losing her mother, and also about her friends and anecdotes. Cristina plays through her interpretive side not only on the record but on stage as well. Her performance has evolved into more of a theatrical experience as she navigates through the realms and concepts within Baronesa. “It's musically complex and deep, it's a well thought out production and very very fun too!" she smiles.

Her creative process for Baronesa started on the Galapagos Islands just like I LOVE. She's committed to the Islands as a promoter of an arts education program called Arteducarte, taught in the public schools of Isabela Island. A percentage of her record sales go towards the yearly funding of the program. Recently she was honored with an invitation to speak at the first Tedx Galapagos and as part of the Jury committee for the fiction feature length competition at the Havana Film Festival in New York. Cristina is also involved as a board member of the screen actors union of Ecuador. Her latest film, Feriado, in which she played and was an associate producer, had it's world premiere at the Berlinale last year and screened during Latinbeat at Lincoln Center.

Personnel:  Cristina Morrison: vocals; Misha Piatigorsky: piano and all keys , percussion; Conor Rayne: cajon; Willard Dyson, Ari Hoenig, Rudy Royston: drums; Danton Boller. Edward Perez, Sergio Branda~o: bass; Ron Affif, Mark Hermann: guitars; Joel Frahm: tenor and soprano saxophone; Tatum Greenblatt: trumpet; Magnus Lindgren: flute; Mauricio Herrera: percussion; Victor Prieto: accordion; Frederika Krier: violin; Chorus: Misha Piatigorsky, Tatum Greenblatt, Mauricio Herrera, Anatalya Piatigorsky.  http://news.allaboutjazz.com/cristina-morrison-hot-new-cd-baronesa-out-on-june-9.php

“Vocalist Cristina Morrison is as worldly and well-traveled as they come. She was born in Miami and spent time living in Rome, Quito, the Galapagos Islands and Los Angeles before landing in the Big Apple, from whence she recorded this fine debut. Morrison possesses a voice that's alternately soothing, sassy, straightforward or sly, and she brings it to bear on a diverse array of original and oft-covered offerings." ~ Dan Bilawsky, All About Jazz

 

Baronesa

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George Cables - By George (Plays Music Of George Gershwin)

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 44:19
Size: 107,8 MB
Art: Front

(7:25)  1. Bess, You Is My Woman Now
(7:31)  2. My Man's Gone Now
(4:36)  3. I Got Rhythm
(6:51)  4. Embraceable You
(7:06)  5. Someone to Watch over Me
(5:53)  6. A Foggy Day
(4:53)  7. Summertime

Assisted by bassist John Heard and drummer Ralph Penland on four of the six tracks, pianist George Cables explores six very familiar George Gershwin compositions. The fact that he was able to come up with fresh statements on these warhorses (and still stay melodic) says a great deal about Cables's inventiveness.

~ Scott Yanow  http://www.allmusic.com/album/by-george-mw0000193812

Personnel: George Cables (piano); John Heard (bass); Ralph Penland (drums)

By George

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