Aaron Goldberg - Home

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 61:05
Size: 140,1 MB
Art: Front

(6:02)  1. Cancion Por La Unidad Latino Americana
(7:07)  2. Shed
(7:35)  3. Homeland
(2:53)  4. I Mean You
(6:20)  5. The Rules
(7:55)  6. Luiza
(5:43)  7. Isn't She Lovely
(4:03)  8. The Sound of Snow
(8:00)  9. Aze's Bluzes
(5:23) 10. A Time For Love

Home by the young pianist Aaron Goldberg, is a gorgeous album of songs. The music here proffers many moods. It is sharp, and probes the density of emotions from happiness, and one's unique identity, to the loss of both. It is a poignant search for a home for the heart, the soul and the restless mind. The original music is brave and although performed by a trio (or quartet) has a feel of being conceived on a large canvas of colors and tonal textures. These are exquisitely interpreted by the pianist, bassist Reuben Rogers whose sense of melodic and harmonic expansion is admirable and drummer Eric Harland, the astute keeper of the pulse of the song. And then there is the amazing Mark Turner, who stars on three tracks.

On "Canción por la Unidad Latino America," a glorious anthem first recorded by the visionary Cuban musician, Pablo Milanés on Grandes Exitos in 1996, Turner brings the dream-like yearning of the song to life in the virtually falsetto glissandos of his tenor. While the song is performed sans Milanés' grandly idealistic lyrics, the emotional rendering by Goldberg's trio, with Turner as a co-leading voice, recall its elemental grandeur. As an anthem, it ranks with Charlie Haden exquisite "Ballad of the Fallen" from his 1983 ECM album of the same name. Turner continues his beautiful wail on Goldberg's mesmerizing chart, "The Rules" and gives a thoughtful performance on "Aze's Bluzes," a track complete with the clever reference to John Coltrane A Love Supreme (Impulse!, 1965).

A sure sign that Goldberg's star is on the rise comes in performances that define his pianistic intelligence and unbridled virtuosity. "The Rules" his hauntingly beautiful "The Sound of Snow" is a masterful exercise in visualization and tonal majesty that clearly defines the composer's genius. The pianist's interpretive skills are flashed forward on Thelonious Monk challenging, "I Mean You," which Goldberg renders as a reflective, cracked crystal maze. The other songs that showcase Goldberg's uncanny skill for the unexpected are Stevie Wonder "Isn't She Lovely," Antonio Carlos Jobim pensive ballad, "Luiza," where the pianist is sublimely heartrending, and Johnny Mandel "A Time For Love," where he expresses lofty emotions, as does Harland in his role as percussion colorist.

This album also showcases a mature trio, one that captures the high energy, sophistication and sheer wonder of music in the same great manner of Keith Jarrett famous Standards Trio. The performances, by each of the musicians, are flawless. The addition of Turner adds a shadowy vocal element to the otherwise instrumental music.Whether as a trio or a quartet, the musicians' ability to communicate with each other is virtually telepathic. As a result, Home could very well contain some of Aaron Goldberg's best work alongside his other trio, the one he is probably better known for OAM, with bassist Omer Avital and Spanish drummer Marc Miralta. ~ Raul D’Gama Rose http://www.allaboutjazz.com/home-aaron-goldberg-sunnyside-records-review-by-raul-dgama-rose.php

Personnel: Aaron Goldberg: piano; Reuben Rogers: bass; Eric Harland: drums; Mark Turner: tenor saxophone (1, 5, 9).

Home

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Renee Rosnes - Art & Soul/Life On Earth

Album: Art & Soul
Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 57:27
Size: 132,1 MB
Art: Front

(6:19)  1. Blues Connotation
(6:13)  2. With A Little Help From My Friends
(5:30)  3. Goodbye
(8:19)  4. Ancient Footprints
(6:09)  5. Fleurette Africaine
(5:34)  6. Romp
(5:07)  7. Lazy Afternoon
(5:13)  8. Little Spirit
(3:42)  9. Sanfona
(5:16) 10. Children's Song No.3

On her sixth Blue Note release, burning pianist Renee Rosnes is joined by drummer/husband Billy Drummond and bassist Scott Colley, whose ubiquity of late threatens to reach Dave Holland proportions. Whereas previous outings have stressed Rosnes’s own compositions, this disc contains only two originals and they happen to be my two favorite cuts. The up-tempo "Romp" is based on simple triadic motifs, giving it a uniquely bright sound. During her solo Rosnes reaches an inspired height, quoting "Now’s The Time" at some length when you’d least expect it. Colley solos nimbly over the fast-moving, unusual changes and Drummond takes a couple of deft choruses. "Little Spirit," a mid-tempo chart in 3/4 with a straight-eighth feel, is a moving tribute to Rosnes’s son, Dylan. It’s simply beautiful, and Rosnes solos her heart out on it.

The other strongest tracks are Ornette’s "Blues Connotation," which the trio tears up, and a song called "Lazy Afternoon," elevated to realms of sheer enchantment by Dianne Reeves’s sensuous vocals. Not quite as affecting, though very good, are the Sinatra ballad "Goodbye," Duke’s "Fleurette Africaine," Egberto Gismonti’s "Sanfona," and a jazz read of Bartok’s "Children’s Song No. 3." Reeves is featured again on an intriguing yet superfluous version of Wayne Shorter’s "Footprints," here called "Ancient Footprints." Richard Bona’s percussion on this track is a nice addition, though, and his kalimba (thumb piano) on "Fleurette" grabs one’s attention. Jazz musicians play Beatles covers an awful lot these days, and Rosnes perpetuates the trend with a slowed-down version of "With a Little Help from My Friends." I was prepared to hate it, but I have to say it’s grown on me. The reharmonization is totally slick, the performance chock full of soul. Jazzers, if you must cover pop songs, this is the way to do it. ~ David Adler http://www.allaboutjazz.com/art-and-soul-renee-rosnes-blue-note-records-review-by-david-adler.php 

Art & Soul

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Album: Life On Earth
Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 53:58
Size: 125,0 MB
Art: Front

(5:29)  1. Empress Afternoon
(6:03)  2. Senegal Son
(5:17)  3. Ballad Of The Sad Young Men
(7:41)  4. Icelight
(6:19)  5. Gabriola Passage
(5:12)  6. The Quiet Earth
(5:44)  7. Hanuman
(5:32)  8. Nana
(6:36)  9. The Call Of Triton

On her eighth recording as a leader for Blue Note, pianist and composer Renee Rosnes presents a pan global festival that has far reaching impact. Utilizing a revolving cast of characters on various numbers, Rosnes manages to synchronize the various “world music” influences in a seamless manner that never falls into the “mixed bag” syndrome. Old friends (husband and drummer Billy Drummond, saxophonists Chris Potter and Walt Weiskopf, bassist Christian McBride, etc.) mix with new friends bringing in African, Brazilian, and other exotic stimuli. Furthermore, all but two of the nine selections are original compositions penned by Rosnes herself. The two most colorful offerings are up first. “Empress Afternoon” is a Turkish sounding delight buoyed by the tabla work of master musician Zakir Hussain, while “Senegal Son” celebrates the Highlife tradition with the djembe and marimba adding additional textures to the ensemble. In the same vein comes “Hanuman,” a Brazilian-inflected line full of samba rhythms and an energetic brass ensemble adding some musical punctuation. 

Elegant and pensive moments are also to be found among the landscape and a trio version of “Ballad of the Sad Young Men” is particularly choice. So too is “The Quiet Earth,” where the trio is supplemented by a string ensemble and the results are a direct lineage from Steve Kuhn’s marvelous “strings and piano” affair from the late ‘60s, The October Suite. Elsewhere, there’s the kind of fierce swinging hard bop that has been part and parcel of Renee’s approach since her early days with the late Joe Henderson. Both Chris Potter and Walt Weiskopf figure prominently into the mix here, as do drummers Jeff “Tain” Watts and Billy Drummond. Although it may be early in the year to make such predictions, suffice it to say that Life on Earth may just end up being among the best jazz releases of 2002. ~ C.Andrew Hovan http://www.allaboutjazz.com/life-on-earth-renee-rosnes-blue-note-records-review-by-c-andrew-hovan.php

Personnel: Renee Rosnes (piano), Walt Weiskopf (soprano & tenor sax), Chris Potter (tenor sax & bass clarinet), Shelly Brown (flutes), Conrad Herwig (trombone), Douglas Purviance (bass trombone), Steve Turre (trombone & shells), David Gilmore (guitar), Steve Nelson (marimba), Christian McBride & John Patitucci (bass), Billy Drummond & Jeff "Tain" Watts (drums), Duduka Da Fonseca (drums, cameroon shells, ganza, Mica's bells, surdo, tamborim, agogo bell, cuica, repenique, triangle, cowbell), Zakir Hussain (tabla), Mor Thiam (djembe & vocals), Laura Seaton & Laura Oatts (violin), Ralph Farris (viola), Erik Friedlander & Sachi Patitucci (cello), Kevin Tarrant (vocals)

Life On Earth

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Don Scaletta - Any Time, Any Groove!

Styles: Piano Jazz
Year: 1965
File: MP3@320K/s
Time: 41:21
Size: 96,7 MB
Art: Front

(3:03)  1. Yankee Doodle Boy
(2:54)  2. Hello,Dolly
(7:05)  3. Tomorrow Never Comes
(4:29)  4. Old Folks
(3:31)  5. Jani's Tune
(7:46)  6. York's Sauna
(3:32)  7. Over There
(5:29)  8. With The Wind And The Rain In Your Hair
(3:27)  9. A Taste Of Honey

A surprisingly nice little groover, with that tight kind of pop jazz feel that Capitol was so good at during the late 60s! Scaletta's trio is nothing fancy piano, bass, drums but they hit some pretty nice moments on this album, which happens to be one of their best. 

The nicest tracks have a kind of rolling soulful feel  similar to work by Les McCann and Ramsey Lewis. Titles include "York's Sauna", "Taste Of Honey", "Tomorrow Never Comes". 

Personnel:  Piano – Don Scaletta;  Bass – Ted Blondell;  Drums – Nikki Lamkin

Any Time, Any Groove!

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Wild Bill Davis - Dis Heah

Bitrate: MP3@320K/s
Time: 36:56
Size: 84.6 MB
Styles: Organ jazz
Year: 1961/2009
Art: Front

[3:31] 1. Wenkie
[3:58] 2. Cherokee
[2:39] 3. What's New
[5:27] 4. Dis Heah
[2:59] 5. Theme From Mr. Lucky
[3:22] 6. St. Louis Blues
[3:36] 7. Ebb Tide
[3:44] 8. Like Young Lovers Do
[4:08] 9. Jo-Do
[3:27] 10. Angel Eyes

With the dynamic, swirling sounds of his Hammond B-3 organ, Wild Bill Davis provided a bridge from the big band swing of the 1930s and '40s to the organ-driven R&B of the 1950s and early '60s. Together with guitarist Floyd Smith and drummer Chris Columbus, Davis set the framework for the jazz organ combo sound. Initially a guitarist, Davis made his debut with Milt Larkin's band in 1939. The group is remembered for the double-saxophone attack of Eddie "Cleanhead" Vinson and Arnett Cobb. Davis, who was inspired by the guitar playing of Freddie Green, remained with the band until 1942. Moving to the piano, Davis joined Louis Jordan & His Tympany 5 in 1945. By then, he had already attracted attention as a skilled writer and arranger. He later furnished original material and arrangements for both Duke Ellington and Count Basie. He was scheduled to record his arrangement of "April in Paris" with the Count Basie Orchestra in 1955, but was unable to make it to the recording sessions. Recorded without his participation, the tune went on to be a Top 30 pop hit. Intrigued by the organ playing of Fats Waller and Count Basie, Davis began to experiment with the Hammond B-3. He soon developed his unique approach. "I thought of (the organ) as a replacement in clubs for a big band," he said during a late-'80s interview. Although he left Jordan's band after five years to form his own trio, Davis periodically returned to play special engagements. Although eclipsed by succeeding jazz organists, including Jimmy Smith and Bill Doggett in the late '50s, and Booker T. Jones in the '60s, Davis remained active until his death from a heart attack in August 1995. His summer appearances in Atlantic City, New Jersey were an annual treat for almost three decades.

A native of Moorestown, New Jersey, Davis studied music at Tuskegee University and Wiley College in Texas. ~bio by Craig Harris

Dis Heah

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Alex Conti - Shetar

Bitrate: MP3@320K/s
Time: 52:14
Size: 119.6 MB
Styles: Guitar jazz
Year: 2010
Art: Front

[4:29] 1. You Might Need Somebody
[5:48] 2. Black Velvet
[6:51] 3. Nothing Compares 2 U
[5:15] 4. Vogue
[7:09] 5. Street Life
[4:40] 6. From A Distance
[5:02] 7. Hung Up
[4:00] 8. Chain Reaction
[4:04] 9. Open Your Heart
[4:51] 10. Bei Mir Bist Du Schoen

Shetar

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Lisa Ekdahl - When Did You Leave Heaven

Bitrate: MP3@320K/s
Time: 46:12
Size: 105.8 MB
Styles: Jazz vocals
Year: 1995/2003
Art: Front

[6:00] 1. When Did You Leave Heaven
[3:22] 2. But Not For Me
[5:03] 3. Cry Me A River
[4:17] 4. Love For Sale
[3:16] 5. Lush Life
[2:27] 6. You're Gonna See A Lot Of Me
[6:42] 7. Just One Of Those Things
[3:53] 8. The Boy Next Door
[2:59] 9. I'm A Fool To Want You
[2:52] 10. My Heart Belongs To Daddy
[5:15] 11. Blame It On My Youth

A major pop star in Scandinavia, Lisa Ekdahl was 24 when she attempted to sing straight-ahead jazz on the consistently weak When Did You Leave Heaven, which was her first release in the U.S. and her first all-English recording. The Swedish singer's thin, girlish, mousy voice might work on bubblegum pop, but it's hardly appropriate for standards like "Cry Me a River" and "I'm a Fool to Want You." Ekdahl tries to emulate Billie Holiday, although the disc ends up sounding more like Paula Abdul with a Scandinavian accent making an ill-advised attempt at acoustic jazz. Especially embarrassing is her version of "Lush Life" -- this is a song that even 35-year-old singers shy away from because they don't feel they've done enough living, and Ekdahl gives no indication that she has the type of depth needed to sing this Billy Strayhorn classic convincingly. As many gifted jazz singers as Sweden had in the late 1990s (including Jeanette Lindström and Lina Nyberg), it's most regrettable that RCA Victor chose to record someone who should have stuck to commercial pop. ~Alex Henderson

When Did You Leave Heaven

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The Hi-Lo's - All Over The Place

Bitrate: MP3@320K/s
Time: 32:38
Size: 74.7 MB
Styles: Vocal harmonies
Year: 2011
Art: Front

[3:01] 1. Bali Ha'i
[2:29] 2. My Little Grass Shack In Kealakekua, Hawaii
[2:37] 3. Sand In My Shoes
[3:16] 4. Autumn In New York
[2:43] 5. April In Fairbanks
[3:14] 6. How Are Things In Glocca Morra
[2:09] 7. Bounce
[2:09] 8. Massachusetts
[2:50] 9. Isle Of Capri
[3:09] 10. A Nightingale Sang In Berkeley Square
[2:36] 11. Dixie
[2:16] 12. Island Of The West Indies

The Hi-Lo's were a close-harmony vocal quartet of the 1950's and early 1960's who brought the arrangement and harmonics of popular song to a standard which has seldom been equalled and never surpassed. In their time, only the Four Freshmen have acquired a comparable reputation.

They were Gene Puerling, bass-baritone, arranger and leader of the group: Bob Strasen, baritone: Bob Morse, baritone and occasional soloist and Clark Burroughs, tenor. The group was formed in April, 1953 and took their name from the incredible vocal range they covered between them. It was also true that, while Puerling and Burroughs were five feet seven and five feet five respectively, Morse and Strasen topped six feet. They brought imagination, technical accomplishment, daring, determination and integrity to their artistry when the model for groups of their kind was a safe commercial blend. Their superiority in every department ofarranging, recording and performance was down to the genius of Gene Puerling who, in later years, went on to form Singers Unlimited with replacement Hi-Lo Don Shelton. After disbanding in the midst of the early-sixties British pop invasion of the United States and pursing their various projects, they reformed with great success in the late seventies to perform live and to produce two further outstanding albums.

All Over The Place

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London Jazz Four - London Jazz Four Take Another Look At The Beatles

Bitrate: MP3@320K/s
Time: 45:18
Size: 103.7 MB
Styles: Contemporary jazz
Year: 2011
Art: Front

[3:09] 1. I Feel Fine
[3:00] 2. Paperback Writer
[3:31] 3. Rain
[2:55] 4. Michelle
[3:52] 5. Yes It Is
[3:10] 6. Please Please Me
[2:49] 7. Things We Said Today
[5:21] 8. From Me To You
[2:59] 9. A Hard Day's Night
[4:04] 10. Ticket To Ride
[2:36] 11. Yellow Submarine
[2:45] 12. Norwegian Wood
[2:20] 13. It Strikes A Chord
[2:40] 14. Song For Hilary

This Brit quartet made the songs of the Fab Four their own, taking a lot of risk in reinterpreting many timeless classics but also approaching lesser-known Lennon-McCartney tunes (sadly, there are no Harrison compositions on the album). The result is a collection of songs on this disc (originally released in 1967) that sound almost if they were completely new. For instance, "I Feel Fine receives a Bach-like harpsichord riff that repeats itself throughout the track, the rest of the instruments basically improvising around the song's original melody.

John Lennon's Dylan-esque "Rain gives a lot of space for vibes player Ron Forbes and pianist Mike McNaught alternately to showcase their visions on each song. Gone is the song's original dark feel, which is replaced by a slow, peaceful one. The early tune "Yes It Is is barely recognizable, featuring percussion, finger cymbals, and a triangle as backdrop for the piano, which sounds as if McNaught's fingers had a hard time moving over the keys, giving an otherwise simple song an eerie, almost ghostly feel.

The quartet swings through "Please Please Me and "Things We Said Today, but the latter has more of a Latin jazz sound with some Afro undertones. "A Hard Day's Night turns out to be one of the best tracks on the CD. The song morphs into a jazz waltz, which is an interesting development. Also pay close attention to the playfulness and simplicity of the musicians' take on "Yellow Submarine. ~Ernest Barteldes

Len Clarke: drums; Ron Forbes: vibraphone; Mike McNaught: piano; Brian Moore: bass.

London Jazz Four Take Another Look At The Beatles

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David Binney - Anacapa

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 71:03
Size: 163,4 MB
Art: Front

( 1:41)  1. She Loves, Introduction
( 5:25)  2. The Golden Zone
( 3:27)  3. Massive Humanity
(10:42)  4. Distant City
(10:10)  5. Anacapa
( 5:12)  6. Waiting for the Blast
(12:11)  7. Imagination Sets Us Free
( 9:13)  8. Heart Shaped Mind
(11:03)  9. Santo Spirito
( 1:53) 10. She Hates, Outro

Some artists move forward in great leaps and bounds, while others evolve more slowly, over longer periods of time. David Binney is one of those rare musicians who manage to do both. While a sampling of some of his recent albums, such as Bastion of Sanity (2005), Cities and Desire (2006) and Aliso (2010l, all on Criss Cross) paint a picture of the saxophonist as evolutionary, others, like 2009's Third Occasion and 2011's Graylen Epicenter (both on Binney's Mythology Records imprint) suggest he's capable of more revolutionary leaps forward as well. Even his most recent Criss Cross record, 2013's uncharacteristically unshackled Lifted Land, revealed hitherto unknown aspects of an artist whose ears and mind are always open. But nothing could prepare even for the most seasoned Binney fan for Anacapa, a massive statement for the saxophonist/composer. While it's easy to throw around accolades like "best album to date," every subsequent listen to this remarkable recording makes clear that if this isn't Binney's absolute best record, it's certainly a strong contender, right up there with albums that remain particularly definitive, such as South (ACT, 20011), Graylen Epicenter and Afinidad (Red Records, 2001), Binney's first of three recordings co-led with Venezuelan-born pianist Edward Simon.

Still, there are certain earmarks on Anacapa that identify it instantly as a Binney record, even as the opening, synth-driven "She Loves, Introduction" a through-composed miniature that, combines a four-on-the-floor electronic pulse with minimalist hints, synthesizers blazing otherworldly textures and close harmonies suggests something very different going on as well. The album is bookended with the similarly synth but this time also sequencer-driven "She Hates, Outro" in addition to its minimalist tendencies, also referencing the mitochondria of '70s electronic bands like Tangerine Dream buried somewhere deep in Binney's DNA...and, with his sparse saxophone line floating atop, some genetic coding of British saxophonist John Surman's solo excursions, such as Upon Reflection (ECM, 1980), as well. Still, while it's possible to delineate individual elements that prove even forward-thinking musicians like Binney don't emerge from a vacuum, it's the confluence of so many of these building blocks in such a deeply personal way that makes Ancapa such a remarkable and shocking album from someone whose discography has largely been defined by the sound of surprise.

Binney has worked with both Adam Rogers and Wayne Krantz in the past Rogers dating right back to Binney's early days with Lost Tribe, the group that, in addition to the saxophonist and guitarist, also introduced David Gilmore, Fima Ephron and Ben Perowsky to the world, while Krantz first collaborated with him on Balance (ACT, 2002) but, barring a few tracks on Balance, he's never worked with them together on the same record. And while Dan Weiss has been a regular Binney collaborator alone as well as together with other drummers, like Brian Blade on Graylen Epicenter Anacapa marks the first time the saxophonist has recruited up-and-comer Obed Calvaire; it's also the first time that he's relied on two drummers for most of an album, and the result is music of unbridled energy and sonic density, to a degree rarely before achieved by the saxophonist.

Between Krantz and Rogers, the saxophonist's own overdubbed horns this is the first time since Fiesta de Agosto (Red Records, 2005) that Binney has employed so many saxophones along with pianist John Escreet and, on some tracks, vocals from himself, Louis Cole and Nina Geiger, Binney has more potential for color and interweaving lines than ever before, with "The Golden Zone" an early example of Binney's making full use of complex counterpoint while, at the same time, retaining the touchstone lyricism that's defined his work as far back as 1995 and The Luxury of Guessing (Audioquest). And while there's considerable compositional structure on this five-minute piece, there's still room enough for Binney to stretch out on his main axe (alto) for a fiery solo made all the more so by Weiss and Calvaire's incendiary interplay, the whole thing held down by Matt Brewer's unshakable pulse here, as is the case throughout Anacapa, solely on electric bass. Elsewhere, Anacapa rocks and rocks hard. "Massive Humanity" is driven by a potent twin-drum back beat, a throbbing synth bass line and some massively overdriven guitar chords, leading to a series of shifting harmonies that act as a foundation for Weiss and Calvaire to solo in tandem...and pretty much blow the roof off the joint.

Half of Anacapa's five tracks Binney compositions, all range from nine to twelve minutes, providing ample room for soloing amidst some of Binney's most complex and epic writing to date. And if Lifted Land represented some of his flat-out freest work to date, despite Anacapa being far more rooted in composition, there are moments where Binney allows his extended group to dissolve into complete and utter free playing, as he does on "Imagination Sets Us Free." The album's most expansive track, it begins in visceral funk territory, with Rogers' lower-register, overdriven chord-based playing contrasting the grit of Krantz's upper register lines. A scorching solo from Binney leads to Escreet's most impressive solo of the set, blending McCoy Tyner-esque modality with more delicate phrasing as a lead-in to Krantz's turn, where things really begin to break down. As he opens up into the kind of oblique angularity upon which at least some of his career has been predicated, it first turns into a fiery exchange with Calvaire but then, with Weiss and everyone in the pool, into a period of reckless abandon from everyone, Binney once again taking the lead as the entire band seems to literally lift the energy and density until...suddenly...form reasserts itself with the composition's anthemic coda, driven by the lyrics upon which the song's title is based.

Binney's always been a master of the anthem, and has often incorporated diverse cultural influences, but always in ways that seem to fit his most specific aural universe. "Heart Shaped Mind" may begin as a percussion duo between pandeiro player Sergio Krakowski and Weiss, who moves from his kit to tabla an instrument long part of his musical and spiritual studies but there's nothing particularly eastern in the flavor of the writing. Instead, as one of Anacapa's least crowded compositions, it's an ambling piece reliant upon Binney's signature use of thematic unison lines to open up into a lengthy alto solo as much about the group's interpretive expressionism as it is Binney's. He may be the soloist, but there's a wealth of big-eared interaction going on all around him that's as exhilarating as it is intuitive, even as Binney winds down and passes the baton to Escreet.

Thanks to consistent placement in the mix, for those unfamiliar with some of the players it's possible to identify their styles: Krantz and Calvaire in the left channel, Rogers and Weiss in the right. But such practicalities aside, Anacapa is a creative high watermark for Binney on a number of fronts: compositionally, it's his most richly realized album to date while, at the same time, incorporating his relatively newfound leanings toward completely unfettered freedom; its twin-guitar/twin-drums lineup lends it a density and attendant excitement that's palpable, as Binney makes terrific use, at times, of as many as eight musicians at once to weave his intricate musical tapestries, while also allowing the music to breathe through breaking things down into smaller subsets; and, as strong a player and bandleader as Binney has been for many years, he's never managed to squeeze so much challenging music into so little time. Criss Cross sessions typically last a single day and if Binney did, indeed, record the 71-minute Anacapa in a single six-hour session then it's an even more remarkable feat than what it is for the music and performances alone. But however it was recorded, Anacapa represents Binney at his absolute best as a writer, as a performer, and as a bandleader who not only makes astute choices as to who is right for the music at hand, but in the freedom he affords them to lift the music off the written page and bring it to what is, on Anacapa, a vivid, full and creative life. ~ John Kelman http://www.allaboutjazz.com/david-binney-anacapa-by-john-kelman.php

Personnel: David Binney: alto, tenor and soprano saxophones, vocals, synths, bass; Wayne Krantz: guitar; Adam Rogers: guitar; John Escreet: piano, Fender Rhodes; Matt Brewer: electric bass; Obed Calvaire: drums; Dan Weiss: drums, tabla; Sergio Krakowski: pandeiro (8); Louis Cole: vocals (6); Nina Geiger: vocals (4).

Anacapa

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Dusty Springfield - A Very Fine Love

Styles: Vocal, R&B

Year: 1995

File: MP3@320K/s

Time: 41:14

Size: 96,7 MB

Art: Front

(4:13)  1. Roll Away

(4:10)  2. Fine, Fine, Very Fine Day

(3:58)  3. Wherever Would I Be

(5:36)  4. Go Easy on Me

(4:16)  5. You are the Storm

(3:41)  6. I Can't Help the Way I Don't Feel

(3:48)  7. All I Have to Offer is Love

(3:42)  8. Lovin' Proof

(3:36)  9. Old Habits Die Hard

(4:11) 10. Where is a Woman to Go

In 1993, Dusty Springfield journeyed to Nashville and, working with producer Tom Shapiro, generated this jewel of an album, illuminated by as soulful and passionate a performance as the singer gave in her post-'60s incarnation. Indeed, the performances and the songs here stack up favorably next to, say, Brand New Me, her early-'70s intersection with Philly soul. One song here, "Where Would I Be?," which features a duet with Daryl Hall, got a little play for being in the movie While You Were Sleeping, but otherwise, sad to say, this album passed relatively unnoticed for most of the public. The sounds are fairly diverse, including relatively subdued songs such as "You Are the Storm," showing the softer side of her singing, but Springfield is at her best going full-out, backed by strings and a full band, as on "Roll Away" and "Lovin' Proof," which make this a very fine album, indeed. ~ Bruce Eder http://www.allmusic.com/album/a-very-fine-love-mw0000121488

Personnel: Dusty Springfield (vocals); Biff Watson (acoustic & electric guitars); Dann Huff (electric & classical guitars); Michael Thompson (guitar); Dan Dugmore (steel guitar); Jerry McPherson, George Cocchini (electric guitar); Steve Nathan (piano, B-3 organ, keyboards); Brian Tankersley, Walter Afanasieff (keyboards, synthesizer, programming); Carl Marsh (keyboards); Glenn Worf, Jimmie L. Sloas (bass); Lonnie Wilson (drums); Gary Cirimelli (programming, background vocals); Judson Spence, Guy Penrod, Kristina Clark, Audrey Wheeler, Kimberly Fleming, Chris Willis, Claytoven Richardson, Skyler Jett, Jeannie Tracy-Smith, Sandy Griffith, Conesha Owens, Ron Hemby, Dennis Wilson, John Wesley Ryles, Cindy Walker (background vocals).

A Very Fine Love

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David Reinhardt Trio - Colombe

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 45:23
Size: 104,3 MB
Art: Front

(4:39)  1. Lady
(5:38)  2. XV
(5:04)  3. A Fool's Errand
(6:13)  4. Aparecida
(2:06)  5. Me Hermano Lp
(3:11)  6. Colombe
(4:24)  7. C
(2:49)  8. Love Theme
(3:39)  9. Melina's Theme
(1:25) 10. C (Orgue & Piano Solo)
(4:43) 11. Here's That Rainy Day
(1:26) 12. Love Theme (Guitare Solo)

Playing against expectations, given that his grandfather was the one and only Django Reinhardt, the 26-year-old guitarist David Reinhardt pursues a modern direction more informed by bebop, bossa nova, funk and fusion than by the Hot Club of France. With Hammond B3 organist Florent Gac and drummer Yoann Serra in tow, he opens with a gentle fingerstyle ballad, “Lady,” before segueing into the edgy B3 burner “XV,” which carries a hint of the original Tony Williams Lifetime trio. The relaxed swinger “A Fool’s Errand” features Reinhardt delivering warm, Wes Montgomery-style octaves, and he reserves his most lyrical playing for Ivan Lins’ mellow “Aparecida.” The title track, an uptempo swinger dedicated to Reinhardt’s grandmother, features his boldest hard-bop-fueled lines, and “Melina’s Theme” has him playing funky rhythm guitar à la Jimmy Nolen from James Brown’s band. Reinhardt also turns in a briskly swinging take on Jimmy Van Heusen’s “Here’s That Rainy Day” and an unaccompanied acoustic reading of the poignant “Love Theme From Spartacus.”~ Bill Milkowski http://jazztimes.com/articles/54417-colombe-david-reinhardt-trio

Personnel: David Reinhardt (guitar); Florent Gac (piano, Hammond b-3 organ); Yoann Serra (drums).

Colombe

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Don Patterson, Booker Ervin, Houston Person - Just Friends - Legends of Acid Jazz

Styles: Hard Bop, Soul Jazz
Year: 1964
File: MP3@320K/s
Time: 79:36
Size: 183,2 MB
Art: Front

(10:17)  1. Red Top
( 5:42)  2. Freddie Tooks Jr
( 3:58)  3. Last Train From Overbrook
( 9:24)  4. Embraceable You
( 4:46)  5. Sandu
( 4:57)  6. Sister Ruth
( 5:50)  7. Donald Duck
( 8:04)  8. Rosetta
( 3:03)  9. Under The Boardwalk
(11:00) 10. Sentimental Journey
( 6:36) 11. Theme For Dee
( 5:55) 12. Just Friends

Although this is a fine collection highlighting three unjustly overlooked players of the '60s, it doesn't really rate inclusion in Prestige's long-running Legends of Acid Jazz series. This isn't acid jazz, or even '60s-style soul-jazz, but straight-ahead hard bop. (The one exception is Don Patterson's Hammond organ-led take on a very faithful and brief rendition of the Drifters' pop hit "Under the Boardwalk," possibly an attempt at Ramsey Lewis-style crossover success.) The two tenors, the barrel-toned Houston Person and the much more aggressive, R&B-influenced honker Booker Ervin, are in control of this session, trading soloists with the intensity of an old-fashioned cutting contest. Patterson rarely takes the spotlight, but when he does, his warm, churchy tones are an inspired contrast to the hard bop blowing of the other two principals. A surprising highlight is an 11-minute take on that hoary old chestnut "Sentimental Journey," which features some simply outstanding solos by all three principals. ~ Stewart Mason http://www.allmusic.com/album/legends-of-acid-jazz-vol-2-just-friends-mw0000603317

Personnel : Don Patterson (Hammond B-3 organ); Booker Ervin, Houston Person (saxophone); Pat Martino (guitar); Billy James (drums).

Just Friends - Legends of Acid Jazz

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Milt Jackson - Bebop

Bitrate: MP3@320K/s
Time: 50:53
Size: 116.5 MB
Styles: Vibraphone jazz
Year: 1988
Art: Front

[5:23] 1. Au Privave
[5:46] 2. Good Bait
[4:57] 3. Woody 'n You
[7:07] 4. Now's The Time
[5:28] 5. Ornithology
[5:53] 6. Groovin' High
[5:37] 7. Birks' Works
[5:52] 8. Salt Peanuts
[4:46] 9. I Waited For You

Fantastic bebop album from Milt. This one was released in 1988 forty years after the birth of bebop to tribute the genius of this music and of its creators Parker, Gillespie, Monk, Christian and Milt himself who was among the best of them all at the time. This album is simply superlative. The line up consists in Milt at the vibraharp, Jon Faddis, the Dizzie Gillespie alumn at the trumpet, JJ Johnson at the trombone, Jimmy heath tenor sx, Cedar Walton (the maestro!!) at the piano, John Clayton at the doublebass, Mickey Roker drums. The tunes are all fast bebop numbers from the era, Ornithology, Au privave, bebop blueses and anatolls from Parker's, Gillespie's, Dameron's pens. In the end of the selection the band play a stellar version of I" waited for you", a marvellous bebop ballad. It's simply pefect in the tune selection too. What can I say more? Uh, yes, the album is perfectly recorded .. it is a bebop album without the limits of the forties in the recording step. So it is a must have. The emphasis of the music is just right, just perfect. Solos are wonderful. ~Jazzcat

Bebop 

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Joe Beck, Santi Dibriano, Thierry Arpino - Tri07

Bitrate: MP3@320K/s
Time: 67:04
Size: 153.5 MB
Styles: Guitar jazz
Year: 2007
Art: Front

[ 5:30] 1. Impressions
[ 8:33] 2. But Beautiful
[ 4:30] 3. Laura
[ 5:46] 4. My Romance
[10:03] 5. Alone Together
[ 9:19] 6. Cry Me A River
[ 3:41] 7. A Little Blue
[ 8:07] 8. Dancing To San Xavier
[ 4:43] 9. (I Don't Stand) A Ghost Of A Chance With You
[ 6:48] 10. You And The Night And The Music

Tri07 is a different type of release for Joe Beck. Which is a powerful statement, since this guitarists' guitarist has won the Most Valuable Player Award from the National Academy of Recording Arts & Sciences (NARAS) five different times, and his career, which spans five decades, includes working with Miles Davis, Duke Ellington, Gil Evans, Antonio Carlos Jobim and other geniuses.

Tri07 delivers two distinct Beck flavors: Adventurous improvisational explorations that deconstruct and reassemble pieces such as "You and the Night and the Music" and John Coltrane's "Impressions," and reverential yet energetic reviews of numerous hallowed standards ("But Beautiful," "Laura," "My Romance," "Cry Me A River" and "(I Don't Stand) a Ghost of a Chance with You").

Beck can move so freely between these styles thanks to the energy and dexterity of his rhythm section: bassist Santi Dibriano, who has played with Larry Coryell, Pharoah Sanders, Sam Rivers, Sonny Fortune and Archie Shepp; and drummer Thierry Arpino, who most often plays with Jean-Luc Ponty. "We traveled together musically for two solid days of experimental sessions," wrote Dibriano in his notes; "This rhythm section is almost too good to be true," wrote Beck in reply.

This trio's opening "Impressions" of the Coltrane classic provides a clear path for the extrapolations and interpretations which follow. Arpino's firm beat grounds the ensemble, but Beck's guitar doesn't stay shackled to any uniform cadence for very long. Their ten-minute exploration takes "Alone Together" even farther out, and they wrestle new riffs and colors from the concluding "You and the Night and the Music," an abstract spacewalk through which Dibriano's fingers fly so quickly that his bass notes blur together into a continuous harmonic rumble, and Arpino's unaccompanied breaks fracture the brittle sound of Elvin Jones into brilliant marble pieces. Beck proves to be a ballad interpreter who allows the original melody to whisper through his own vision. "But Beautiful" retains that gorgeous, almost timeless melody over which Tony Bennett, for example, loves to linger, but within these eight minutes Beck finds time and space to beautifully improvise on its underlying chords, with perfect, literally perfect, rhythmic support. The trio unravels the chords of "(I Don't Stand) A Ghost of a Chance with You" into ribbons, and then neatly ties these ribbons back up into colorful knots and bows, while "Cry Me a River" suggests the soft strong touch of Barney Kessel.

Beck also contributes two of his own tunes. "A Little Blue" is precisely that, a loping blues shuffle where he sharpens his chords and attack, and shows off his Chet Atkins and George Benson chops. "Dancing to San Xavier" is evocative in both title and impact; Beck's guitar sort of hovers between clouds of airy melodic lines, while DiBriano and Arpino samba with only the loosest of gossamer connections between them, until everyone descends upon a spontaneous improvisational eruption of flowing, hot chords to close. ~Chris M. Slawecki

Joe Beck: guitar; Santi Dibriano: bass; Thierry Arpino: drums.

Tri07

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Cecilia Dale - 2 albums: Standards In Bossa / Standards In Bossa II

Album: Standards In Bossa

Bitrate: MP3@320K/s

Time: 47:12

Size: 108.1 MB

Styles: Jazz vocals

Year: 1999/2013

Art: Front

[3:30] 1. Night And Day

[3:38] 2. I'm In The Mood For Love

[3:51] 3. Cry Me A River

[4:02] 4. What's New?

[2:25] 5. Just One Of Those Things

[3:47] 6. Moonlight In Vermont

[3:44] 7. As Time Goes By

[2:45] 8. How High The Moon

[4:29] 9. Over The Rainbow

[2:58] 10. How About You

[3:36] 11. Bewitched

[2:13] 12. Makin' Whoopee

[2:54] 13. Smile

[3:15] 14. Tenderly

Standards In Bossa I

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Album: Standards In Bossa II

Bitrate: MP3@320K/s

Time: 47:09

Size: 108.0 MB

Styles: Jazz vocals

Year: 2006/2013

Art: Front

[2:17] 1. It Had To Be You

[3:32] 2. Manhattan

[2:33] 3. I Left My Heart In San Francisco

[3:34] 4. My Foolish Heart

[3:59] 5. That's All

[3:17] 6. Call Me Irresponsible

[5:26] 7. You Go To My Head

[2:23] 8. Dream

[2:59] 9. Fly Me To The Moon

[5:22] 10. My Funny Valentine

[2:30] 11. Our Love Is Here To Stay

[3:06] 12. Foggy Day

[3:08] 13. You Do Something To Me

[2:55] 14. All The Things You Are

Standards In Bossa II

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Ted Hefko & The Thousandaires - Distillations Of The Blues

Bitrate: MP3@320K/s
Time: 46:44
Size: 107.0 MB
Styles: Jazz/blues
Year: 2015
Art: Front

[4:42] 1. Hesitation Blues
[4:21] 2. Sweat Upon My Brow
[5:07] 3. I Don't Feel Welcome Here
[3:35] 4. I've Got A Right To Carry On
[4:17] 5. One More Distillation Of The Blues
[4:00] 6. Champion Jack
[3:06] 7. Slippin' Slowly
[4:16] 8. Bad Kids
[4:01] 9. Adam And The Devil
[4:49] 10. Butterfly Dreamin'
[4:25] 11. When The Weather Breaks

Featuring guitarist Neil Flink of Toronto, Ontario, bassist Brian Vinson of Louisville, Kentucky, and Norman Edwards Jr. of West Hempstead, New York on drums, Ted Hefko and The Thousandaires bring original stories to life with the spontaneity of jazz, the bare-bones sensibility of early folk and the vibrancy of New Orleans. From a home base in Brooklyn, NY, Ted Hefko and The Thousandaires tour a wide swath of the country from New Orleans, Louisiana, to Thomas West Virginia, to Tulsa Oklahoma, and Nashville, Tennessee. Their 2009 release, Egyptland, and their 2011 release, If I Walked On Water, were both well received by the press.

Born in Madison, Wisconsin, Ted Hefko moved to New Orleans on a Greyhound Bus when he was 18 and fresh out of high school. He rode next to a Memphis call-girl, nearly twice his age, who entertained him with stories of the ins and outs of her business. Ted began writing song lyrics when he was in second grade and picked up the guitar a couple years later along with any instrument he could get his hands on, from violin to keyboard and banjo. Saxophone was offered in sixth grade band. As a young adult, Ted wanted to dig a little deeper into modern jazz at The University of New Orleans. There he chose saxophone over guitar as his primary instrument. That choice led to ten years of working as a free-lance horn player in New Orleans and New York, before song writing and the guitar began calling him back. His original act encompasses the full range of these experiences. Ted strums a guitar while he sings his lyrics before switching to tenor sax or clarinet for his solos.

Distillations Of The Blues

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Renee Rosnes - Black Narcissus

Styles: Piano Jazz

Year: 2008

File: MP3@320K/s

Time: 53:43

Size: 123,1 MB

Art: Front

(4:07)  1. Black Narcissus

(6:09)  2. Without A Song

(5:59)  3. You Know I Care

(8:04)  4. Beatrice

(5:35)  5. Recorda Me

(4:29)  6. Chelsea Bridge

(4:45)  7. Isotope

(5:46)  8. What's New

(4:34)  9. Serenity

(4:09) 10. Night And Day

Beautiful trio work from pianist Renee Rosnes a set that sparkles with warmth and imagination, and which features wonderful support from drummer Lewis Nash and bassist Peter Washington! The trio's perfectly poised throughout, but never in staid ways just always open to a new groove, and a newly fluid line magically reforming themselves with a new sense of energy on each fresh track, and never failing to delight us as the set moves on! Renee's piano is as warm and lyrical as ever, but we're especially in love with the Washington/Nash rhythm team as they push a cool groove on the set, one that makes Rosnes sound better than we remember on other recent dates. Titles include "Black Narcissus", "Night & Day", "Serenity", "Beatrice", "Recorda Me", and "Isotope".https://www.dustygroove.com/item/609719

Personal: Renee Rosnes – piano;  Peter Washington – bass;  Lewis Nash - drums

Black Narcissus

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Tessa Souter - Listen Love

Styles: Jazz, Vocal
Year: 2004
File: MP3@320K/s
Time: 44:26
Size: 102,0 MB
Art: Front

(3:46)  1. The Peacocks
(4:42)  2. Willow
(3:45)  3. Caravan
(4:03)  4. Listen Love
(4:43)  5. Fragile
(6:15)  6. You Don't Have To Believe
(3:50)  7. Daydream
(3:10)  8. Insensatez
(4:01)  9. Left Alone
(6:06) 10. The Creator Has A Master Plan

"On her amazing album Listen Love, [Tessa Souter] delivers powerful versions of nonstandards such as Pat Martino's "Willow" and Pharoah Sanders' complex "The Creator Has a Master Plan," in addition to her originals, all delivered in a crystal-clear voice with diamond-cut phrasing and a slight tinge of melancholy. She's a gem." (Phladelphia Inquirer) "Like Norma Winstone whose lyrics for Jimmy Rowles' "The Peacocks" she uses here Souter understands what is needed to deliver a song .... Souter's singing style feels natural and organic her rich, dark voice combines with her ability to see the shape of a tune and so the words seem to come from her soul." (All About Jazz-New York) ~ Editorial Reviews http://www.amazon.com/Listen-Love-Tessa-Souter/dp/B000CA35BE

"Musical sophistication ... extraordinary authenticity." ~ Los Angeles Times

"On her amazing album Listen Love, ... crystal-clear voice with diamond-cut phrasing and a slight tinge of melancholy. " ~ Philadelphia Inquirer

Listen Love

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Stan Getz - Award Winner

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 73:40
Size: 169,3 MB
Art: Front

(7:08)  1. Where Or When
(7:03)  2. Woody 'N' You
(4:44)  3. Smiles
(6:55)  4. Three Little Words
(6:41)  5. Time After Time
(9:19)  6. This Can't Be Love
(7:42)  7. All God's Chillun Got Rhythm
(5:31)  8. But Beautiful
(7:10)  9. Woody 'N' You (Alternative Take)
(6:49) 10. Time After Time (Alternative Take)
(0:30) 11. All God's Chillun Got Rhythm (False Start)
(0:17) 12. Smiles (False Start)
(0:37) 13. Time After Time (False Starts)
(0:23) 14. Woody 'N' You (False Start)
(2:43) 15. Woody 'N' You (Inserts)

Award Winner reunites Stan Getz with his mid-'50s right-hand men pianist Lou Levy and bassist Leroy Vinnegar, plus drummer Stan Levey, who sat in with the trio on 1956's The Steamer. Not surprisingly, it's quite similar to that effort, as the quartet keeps thing alternately cool, swinging ballads, and simmering, low-key grooves. It's the sound that made Getz' reputation and brought him popularity, a fact alluded to in the set's title. In retrospect, that can make Award Winner seem like standard-issue Getz, since it is straight-up Stan, with no surprises. Still, that's a very good thing, since few other tenor saxophonists had such a deft touch with laid-back, sensual cool jazz. Each cut on the six-track album feels sensual, even when the tempo is fleet on the side-closers "Smiles" and "This Can't Be Love." Everyone involved sounds as if they're enjoying themselves, and that results in a solid record that may have a few outstanding moments here and there a nice turn of phrase by Getz, a good solo from Levy, supple support from Vinnegar and Levey but is more distinguished by its overall strength and consistency of mood.

Not necessarily a knockout, then, but certainly a record any true Getz fan would want in their collection. [Award Winner was released as a Verve Master Edition in 2000, containing nine bonus tracks, including four false starts and a track's worth of inserts. The real treat are the non-LP cuts from the same session, "All God's Chillun Got Rhythm" and "But Beautiful," which live up to the standard of the original LP, plus alternate takes of "Woody N You" and "Time after Time." All of this music is also available on the three-disc set, East of the Sun: The West Coast Sessions.] ~ Stephen Thomas Erlewine http://www.allmusic.com/album/award-winner-stan-getz-mw0000055403

Personnel: Stan Getz (tenor saxophone); Lou Levey (piano); Leroy Vinnegar (bass); Stan Levey (drums).

Award Winner

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Chihiro Yamanaka - Syncopation Hazard

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 52:21
Size: 120,2 MB
Art: Front

(4:31)  1. Syncopation Hazard
(5:33)  2. The Entertainer / Ritual
(3:37)  3. Maple Leaf Rag
(5:31)  4. The Easy Winners
(5:10)  5. Dove
(5:15)  6. Reflection Rag
(5:35)  7. Sunflower Slow Drag / Ladies In Mercedes
(5:27)  8. New Rag
(5:23)  9. Heliotrope Bouquet
(2:54) 10. Uniformity Rag
(3:22) 11. Graceful Ghost Rag

Born Kiryu, Japan. Yamanaka played piano from the age of four, studying classical music and was eventually awarded the grand prize of Japan’s Gumma Fresh Talent competition. In the USA, she studied at the Berklee College Of Music, graduating in 2000. She was critically praised, winning DownBeat magazine’s award for Outstanding Performance and the IAJE (International Association of Jazz Educators) Sisters In Jazz competition, following which she toured Europe with other winners. Among many artists with whom she has performed are George Benson, Gary Burton, Terri Lyne Carrington, Curtis Fuller, George Russell and Ed Thigpen. In the early 00s she was a member of DIVA, the all-female big band led by drummer Sherrie Maricle, with which group she has played concerts and recorded. Yamanaka also played in the DIVA spin-off quintet, Five Play, with which group she played on Marlene VerPlanck’s 2003 album It’s How You Play The Game. Among musicians Yamanaka has used on her recording dates are bass players Ray Parker, Ben Street and Larry Grenadier and drummers Ben Perowsky, Rodney Green and Jeff Ballard. ~ Bio http://www.allmusic.com/artist/chihiro-yamanaka-mn0000283696/biography

Personnel:  Chihiro Yamanaka - Piano, Fender Rhodes; Yoshi Waki - Bass; John Davis - Drums.

Syncopation Hazard

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