Kat Reinhert - Spark

Size: 144,5 MB
Time: 62:20
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Walk Into The Rain (5:22)
02. Heavy (3:48)
03. Spark (4:45)
04. Paper Bag (3:50)
05. My Arms (3:56)
06. Limelight (5:13)
07. Little Compartments (5:38)
08. Naked (4:05)
09. Prison (6:23)
10. Simple Illusion (5:06)
11. Without A Fight (4:39)
12. How Do You Know (4:49)
13. Skyline (4:40)

In a music world where songs are accessible more than ever to due to advanced technology, artists come and go, but for the most part the ones that remain leave a trace that keeps the listener coming back for more. Modern jazz artist Kat Reinhert is that artist and performs in her second independent release Spark thirteen topnotch jazz melodies that shine with dexterity and diversity.

Spark contains a feel and a sound that does not stay in one place at one time in terms of lyric, rhythm, and tone. With the assistance from producer and pianist David Cook and revered musicians Jo Lawry, Shayna Steele, Sam Minaie, and Perry Smith, name it she touches on every genre of music without denying the traditions of the jazz from standard progression to modern sophistication. The record is an open music box of memorable songs that play a little over five minutes each and more than one may become a favorite that may cling to the listener. Highlights include, the opener “Walk into the Rain” a fast pasted melody with a trademark jazz solo, title track “Spark” that may begin comparisons of Reinhert’s vocals to other great vocalists of jazz and pop Sergio Mendes’s Brasil ’66 Lani Hall and songwriters Carol Bayer Sager and Burt Bacharach, for listeners that may have had a good dose of top 40 radio the melody and lyricism of “Paper Bag” may breathe similarities of Katy Perry’s “Firework,” especially with the question “do you ever feel?” However, aside from that trait “Paper” embraces a playful spirit, one of the bonuses on the album is the cover version of progressive rock band Rush’s “Limelight” that possesses a radio ready sound, “Naked” is a throwback to the standards a la Peggy Lee in “Fever,” for a slight diversion to more contemporary tones “Without a Fight,” turn the lights down low and relax to the enticing soft bossa nova of “How Do You Know,” and to conclude the album “Skyline” slightly resonates with Pachelbel’s Canon in D major but more so to pop and slow jazz.

Whether listeners prefer long drawn jazz solos to soft and contemporary rhythms to their jazz music and enjoy vocalists such as Cassandra Wilson, Diana Krall, or Stacey Kent, Kat Reinhert has arrived with “Spark.” ~by NSD

Spark

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Gian Wiegner & Gary Brunotte - About Time

Size: 135,7 MB
Time: 57:59
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz: Guitar/Hammond Organ
Art: Front

01. Cool Waltzin' (5:06)
02. He Made Away With Love (5:11)
03. Wes Meets Les (4:02)
04. Pm Blues (3:25)
05. It Could Happen To You (5:07)
06. Ode To Charlie (4:49)
07. I Could Write A Book (5:04)
08. No One But You (4:25)
09. Memories Of Tomorrow (4:08)
10. Don't Rush Me (2:58)
11. Do You Know What It Means To Miss New Orleans (4:34)
12. Samba This (2:35)
13. Monkian Around (6:30)

Jazz guitar/organ quartet, tunes ranging from straight-ahead Jazz to Samba, to New Orleans French quarter groove. Recorded in two sessions, one in Boston, one in North Carolina.

"This is an absolute gem! I have been a fan of Brunotte since I had the pleasure to receive his "Manic Moments"!
Gary and Gian are master musicans and improvisers, and it will be my pleasure to introduce my listeners to this great cd." -Peter Kuller, Jazz Presenter Radio Adelaide 101.5fm, JPL "Jazz from Down Under"

"I really like About Time" -Bill Falconer, JazzReview.com

"Thanks so much for this very very very nice CD, really a pleasure to listen to and will be great to give it airplay in my program" -Joost Van Steen, Jazz & Blues Tour Radio - The Netherlands

"There’s a lot of good stuff here not to be missed, without question Gian Wiegner and Gary Brunotte have one excellent recording that deserves attention. About Time is here and it’s a good one" -Edward Blanco, ejazznews

A collaborative effort recorded during two sessions by Gian Wiegner (electric guitar) and Gary Brunotte (Hammond B3 and Korg Cx3 organ), superbly assisted by Boston greats John Lockwood (acoustic bass) and Steve Langone (drums), and two of North Carolina’s finest, Paul Engbretsen (acoustic bass) and Dan Davis (drums).

(The Boston session yielded tracks #1, 2, 3, 5, 7, 12 and 13, tracks #4, 6, 8, 9, 10 and 11 recorded in Durham, NC)

‘About Time’ is broken up into roughly equal shares of Wiegner and Brunotte originals and jazz standards. Song styles range from straight ahead jazz to jazz waltz (“Cool Waltzin’”) to samba (“It Could Happen to You”) to New Orleans groove (“Samba This”).

Many of Gian’s and Gary’s compositions pay homage to favorite jazz musicians, e.g., PM Blues (dedicated to Pat Martino), Wes Meets Les (Montgomery and McCann), Monkian Around (Thelonious Monk) and Ode To Charlie (dedicated to the great Charlie Banacos).

Gian Wiegner, Gary Brunotte, John Lockwood and Steve Langone are all alumni of Boston’s Berklee College of Music. Gary has taught at Berklee in the past and John is, of course, still one of Berklee’s finest instructors.

About Time

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Mal Magorel - Malfunktion

Size: 102,5 MB
Time: 44:06
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop/Soul/Funk Vocals
Art: Front

01. Malfunktion (3:52)
02. Hey Rockstar (3:22)
03. Worlds Apart (5:12)
04. Call Me Crazy (4:35)
05. Music Is My Boyfriend (3:57)
06. Love Like This (4:02)
07. Sparkle (3:08)
08. Enough (5:18)
09. Skyhigh Stilettos (2:56)
10. Shades (3:34)
11. Music Is My Boyfriend (The Vesely Couture Version) (4:05)

Mal Magorel: Funk, Jazz, Pop, Singer/songwriter, Soul

Don’t let the title of her debut album fool you – there is nothing askew when it comes to Winnipeg-based singer/songwriter Mal Magorel’s buttery smooth sounds.

Mal’s jazz, funk and soul-infused vocals can be heard in all corners of her hometown, from the seediest nightclubs to the classiest corporate events. The powerhouse performer has worked with many of Winnipeg’s finest musicians (including Ron Paley, Danny Kramer, Jonathan Alexiuk, Christopher Berti, Ariel Posen and Helen White), and has established her place as a cornerstone of the local music scene.

When not sharing her original tunes and soulful covers with café, cabaret and club audiences, Mal also showcases her sensual chops as half of acoustic duo Acoustic Soul, gets the party started as a frontwoman for numerous wedding and event bands and explores her alternative side with electronic dance outfit Vesely Couture.

Mal is ecstatic for the August 21 release of Malfunktion – a project three years in the making. The album blends a lifetime of musical influences into a style all Mal’s own, with an eclectic mix of pop and soul spanning from Motown-esque to the sly, smooth sounds of 90s pop/R+B.

Mal has crafted 10 original songs showcasing her passion and fiery attitude, ripping subject matter from the pages of her diary to bring music fans stories of love, heartbreak, connection, perseverance, sadness and determination.

Malfunktion is the manifestation of a 32-year love affair between a woman and the magic music can bring to life.

And Mal can’t wait to see where the relationship goes next!

Malfunktion

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Richard Fairhurst & John Taylor - Duets

Size: 119,7 MB
Time: 52:09
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Epitaph To Sabbo (5:58)
02. 3 P's Piece Part I (3:56)
03. 3 P's Piece Part II (2:10)
04. Open Book (4:15)
05. Epitaph To Kenny (2:20)
06. Sly Eyes (4:44)
07. Evans Above (7:26)
08. Very Early (3:34)
09. Turn Out The Stars (6:30)
10. Re Person I Knew (6:02)
11. Growth In An Old Garden (5:08)

Whilst this record pays tribute to three musicians, with tracks dedicated to, and tunes by, Kenny Wheeler, Pete Saberton and Bill Evans, it now also stands, sadly, as an epitaph to John Taylor, who died so suddenly last month. Listening to it, at first I was filled with sadness at the loss of such a talent, tempered by the feeling of hope at the legacy he has left behind, not least through his influence on younger musicians - such as Richard Fairhurst, Taylor's junior by more than three decades. And yet this is above all an album of optimistic, thought-provoking and sometimes upbeat music.

Fairhurst and Taylor had played live several times together since they first collaborated in 2010, and before recording this album in September 2013. Fairhurst's sleevenotes explain some of the process they went through to reach the stage of recording, with the aim of achieving "a blend within the overall sound of the music that had the unity of one instrument being heard - two pianos as one." This they achieved: some might be able to separate the sound of the two musicians, but my ears aren't up to the task. The instruments they used were two Steinway pianos - it was for the Steinway Two Pianos Festival that they first got together, and Steinway (Fairhurst is an endorsee) seem to have been instrumental in the recording in more ways than one.

The pianists share composition credits on two numbers, Epitaph to Sabbo, which precedes two pieces written by Pete Saberton, and Epitaph to Kenny (though it was recorded before Kenny Wheeler's death), which precedes Wheeler's Sly Eyes. These two epitaphs sound improvised, created as the pianists rehearsed together. Epitaph to Sabbo feels abstract in nature, with perhaps a hint to Erik Satie.

There are four tracks which together form a suite dedicated to Bill Evans, an ever-present influence on Taylor's music, which starts with Taylor's "Evans Above" and continues with three of Evans' tunes. Though these may be familiar, Fairhurst and Taylor explore them together, taking us to some unexpected places.

Fairhurst contributes two compositions, Open Book and the rather lovely, gentle Growth in an Old Garden, which closes the CD.

The music throughout has a reflective quality, as if the pianists were having a conversation and seeing where it would take them. There are hints of them holding back, a gentle trepidation as if they were leaving some space to allow themselves to think. It is a fine CD. ~by Patrick Hadfield

Duets

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Blue Mitchell - The Last Tango Blues

Bitrate: MP3@320K/s
Time: 28:04
Size: 64.3 MB
Styles: Hard bop, Trumpet jazz
Year: 1973/2007
Art: Front

[4:17] 1. Soul Turn Around
[2:59] 2. Killing Me Softly With His Song
[3:20] 3. The Message
[4:23] 4. Steal The Feel
[2:45] 5. Last Tango In Paris
[4:14] 6. One For Russ
[2:52] 7. Peace
[3:10] 8. P T Blues

The Last Tango = Blues translates the direct, soulful hard bop approach of Blue Mitchell's cult-classic Blue Note sessions into the funk-inspired grammar of mid-Seventies mainstream jazz. Teamed with guitarist David T. Walker, bassist Chuck Rainey, organist Charles Kynard and drummer Paul Humphrey, Mitchell concentrates on straightforward but imaginative readings of contemporary pop hits like "Killing Me Softly with His Song" and Cymande's "The Message"--Richard Fritz's vibrant arrangements further underscore the album's connection to radio and even blaxploitation soundtracks, but the performances are strictly next-level, complete with some of Mitchell's most fiery trumpet. ~Jason Ankeny

The Last Tango Blues

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Greetje Kauffeld - Heaven's Open

Bitrate: MP3@320K/s
Time: 40:59
Size: 93.8 MB
Styles: Easy Listening
Year: 2012
Art: Front

[3:26] 1. The Way We Were
[3:57] 2. Miss Otis Regrets
[3:31] 3. Dear Death
[4:25] 4. You Must Believe In Spring
[2:25] 5. Spring Is Here
[3:28] 6. Andorinha
[5:52] 7. Vincent
[3:07] 8. Polka Dots & Moonbeams
[3:55] 9. The Way You Look Tonight
[3:22] 10. I Can't Give You Anything But Love
[3:26] 11. The Way We Were [wordless]

b. 26 November 1940, Rotterdam, the Netherlands. As a very small child Kauffeld would sing along with records by artists such as Doris Day and Frank Sinatra. When she was aged 13 she sang on radio and also with a local band, the Raindrops. Her professional career was launched early in 1957 with an appearance on a national radio programme with the Skymasters big band. Not long after this, she sang in Berlin as a guest with Werner Müller and the RIAS Big Band. Her career developed in the Netherlands and Germany and in these years she appeared with many artists, including Toots Thielemans, Kurt Edelhagen, and Svend Asmussen. A move to the USA found her working in Los Angeles and Las Vegas with jazz musicians such as Ray Brown and Herb Ellis. Back in the Netherlands, through her new husband, producer Joop de Roo, she met and sometimes sang with many visiting jazz luminaries, among them Thad Jones, Niels-Henning Ørsted Pederson, Jiggs Whigham and Phil Woods. She also recorded My Favorite Ballads with the Metropole Orchestra under the direction of Rob Pronk and Fernand Terby; one track thereon, ‘Yesterday I Heard The Rain’, features a guest appearance by Stan Getz. In addition to working with large orchestras and small groups, such as Cees Slinger’s Diamond Five, Kauffeld has also sometimes worked in unusual formats as she did on sets with a guitar-tenor saxophone duo: The Song Is You and I’m On My Way To You. Kauffeld continued to tour internationally, meanwhile also teaching at the Hilversum Conservatory of Music, an activity she ceased in the early 00s to allow more time for performing.

During her career, Kauffeld has received many awards, including, in the 80s, Best Soloist at the Euro-Nordring Radio Festival and the Rotterdam Golden Heart culture prize; in the 90s, De Gouden Notenkraker and Hertogenbosch Duke of Duketown Award; and in the 00s, she received the Bird Award at the North Sea Jazz Festival, and her 40th anniversary as a professional musician was celebrated when she was honoured with a Dutch knighthood, the Ridder In De Orde Van De Nederlandse Leeuw.

Heaven's Open

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Vaughn Wiester's Famous Jazz Orchestra - Dreams Come True

Styles: Jazz, Post-Bop, Big Band
Year: 2009
File: MP3@320K/s
Time: 74:31
Size: 172,4 MB
Art: Front

(4:33)  1. Boo Boo Be Doop
(4:19)  2. Wailin' In The Woodshed
(3:59)  3. Love Letters
(6:19)  4. Interloper
(5:56)  5. Make Someone Happy
(7:34)  6. Dearly Befuddled
(5:59)  7. Theme & Variations #3
(4:59)  8. The Whole Man
(3:18)  9. Prez Conference
(5:16) 10. Rhoda Map
(3:52) 11. Springsville
(7:38) 12. Mon Ami Jobim
(3:06) 13. Walkin' By the River
(7:37) 14. Orange Sherbet

Big Band Jazz in the Post-Swing manner of Count Basie, Woody Herman and Stan Kenton. In this issue we are proud to present three dazzling commissions we know you will enjoy.

First, Bill Holman graciously agreed to restore for us his 1952 swinger, "Boo Boo Be Doop." This irreverently titled jewel was written for Stan Kenton and has been missing for nearly 50 years. Thanks to Bill it's now a Famous Jazz Orchestra exclusive! Second, the illustrious, personable and immensely gifted Bill Mathieu decided to write us a dedication to Holman. His eloquent essay, "The Whole Man," was premiered on September 24, 2007 on the occasion of Willis' fourth appearance with FJO. This stunning masterpiece would seem to mock Mathieu's remark that he's not written for big band in 45 years! And finally, it was our friend Roland Paolucci who suggested a co-comission to Holman for "Theme And Variations #3." Good idea, Roland! This recording is of the official premier performance, with Mr. Holman leading the band. (Roland and I shake hands a lot...What a pal!)

Still more Dreams Come True...Our buddy Chas Baker at Kent State thought we might attempt to persuade the extraordinary Mark Lopeman to prepare a performance version of “Springsville” after the Gil Evans arrangement. Mark has generously donated this luminous transcription to FJO’s library. We know you’ll agree it’s perfect with Jim Powell in the solo role! As far as I know, we one of the only two orchestras playing John Hall’s “Dearly Befuddled,” the other being the Carl Saunders Band out in LA. Pretty good company! We not only play the chart, but we’ve got John Hall! We are so pleased to have become acquainted with Joe Coccia, a most amiable gentleman living in Cranston, Rhode Island. Here are two of his charts, both written in 1957 for Stan’s band. I am personally overjoyed to be playing Joe’s beautiful arrangement of “Walkin’ By The River,” one of the lovliest charts I’ve ever heard. Yes folks, a Dream Come True! more...http://www.cdbaby.com/cd/vaughnwiesters2

Collective Personnel: Saxes: John Vermeulen, Jay Miglia, Bryan Olsheski, Joe Graziosi, Bob LeBeau, Matt Adams (10), Gordon Shaffer (12); Trumpets: Erik Gimbel, Larry Everhart, Jim Powell, Bob Larson, Phil Winnard, Jack Schantz (4), Max Roach (4), Ben Huntoon (10), Warren Clark (9), Alan Paar (13); Trombones: Ryan Hamilton, Matt Ellis, John Hall, Bill England (bass trombone), Jessica Sneeringer (1,2,5), Evan Oberla (11), Matt Smith (bass trombone) (12); Tuba: Sean Maloney, Kie Watkins (4); Horns: Scott Strohm, Tiffany Damicone, Mariah Cheyney (1,2,5), John Busic (3), Kristin Pruitt (4); Rhythm: Derek DiCenzo, Aaron Quinn (1,2,5,7), Rob Smeets 13), Andrew Hartman (3) guitar - Larry Cook, bass - Steve Schaar, John von Ohlen (3) drums - Jim Luellen, Ed Cottle (6,12), Jon Eshelman (7) piano - Margie Coyle, percussion; Bill Holman, conductor (7)

Thank You Mat!
Dreams Come True

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Southside Johnny & The Asbury Jukes - I Don't Want To Go Home

Styles: Pop/Rock
Year: 1976
File: MP3@320K/s
Time: 35:03
Size: 80,6 MB
Art: Front

(3:42)  1. I Don't Want To Go Home
(3:12)  2. Got To Get You Off My Mind
(3:22)  3. How Come You Treat Me So Bad
(5:05)  4. The Fever
(3:27)  5. Broke Down Piece Of Man
(3:33)  6. Sweeter Than Honey
(3:22)  7. Fanny Mae
(2:45)  8. It Ain't The Meat (It's The Motion)
(2:44)  9. I Choose To Sing The Blues
(3:46) 10. You Mean So Much To Me

When Bruce Springsteen first rose to fame in the mid-'70s, more than a few critics were bemused by the prospect of a rock star from Asbury Park, NJ, one of the Garden State's less scenic locales, but when Southside Johnny & the Asbury Jukes dropped their classic debut album I Don't Want to Go Home the same year as Born to Run, for a moment it seemed as if the Jersey Shore could be the secret center of the rock & roll universe. At its best, I Don't Want to Go Home sounds like the work of the greatest bar band in the history of the world; pumping out superb covers of lesser-known R&B classics (with Lee Dorsey and Ronnie Spector on hand to contribute guest vocals) as well as like-minded originals; the Jukes are admirably tough but versatile on this record, adding the right touch of swagger on "How Come You Treat Me So Bad" and "Broke Down Piece of Man" while sounding suitably heartbroken on the title cut and generally proving they can play anything they set their minds to and make it cook. 

While Springsteen fans were initially attracted to this album by the presence of two otherwise unavailable tunes by the Boss, "The Fever" and "You Mean So Much to Me," his bandmate, Steve Van Zandt, turned out to be the secret weapon on this album, producing the sessions and writing three of the album's best songs, and Southside Johnny Lyon's vocals are powerful and fully confident on every track, even while trading verses with legends like Dorsey and Spector. If I Don't Want to Go Home didn't quite capture the sweat and physical power of a live Southside Johnny gig, it got the band's heart and soul on tape with tremendous accuracy, and it's a masterful set of hard-boiled blue-eyed soul. ~ Mark Deming http://www.allmusic.com/album/i-dont-want-to-go-home-mw0000191790

I Don't Want To Go Home

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Jerry Bergonzi & Joachim Kuhn - Signed By:

Styles: Piano And Saxophone Jazz

Year: 1991

File: MP3@320K/s

Time: 66:45

Size: 153,1 MB

Art: Front

( 6:09)  1. Manipulations

( 7:51)  2. A Different Look

( 4:19)  3. Signed by:

( 2:53)  4. Two steps back

( 3:15)  5. Easy to read

( 7:42)  6. I ching reading

(11:06)  7. Come back to the island

( 7:33)  8. Yesterdays

( 9:56)  9. Heavy hanging

( 5:57) 10. Our love is here to stay

A fine, high-powered tenor saxophonist with a tone influenced by John Coltrane, a mastery of chord changes, and a strong musical imagination, Jerry Bergonzi has long had an underground following in the Boston area. He started on clarinet when he was eight, switching to alto at 12, and finally to tenor two years later. Bergonzi was inspired early on by Sonny Rollins, Coltrane, and Hank Mobley. He attended Lowell University and then after graduation played electric bass in local bands behind singers and strippers, saving up enough money to move to New York in 1972. After struggling in the Big Apple for seven years and gaining some recognition as a member of Two Generations of Brubeck and of the Dave Brubeck Quartet (with whom he appeared on several Concord albums during 1979-1981), Bergonzi moved back to Boston in 1981, where he developed a strong career both as a tenorman and as an educator. He has since led several groups (including two called Con Brio and Gonz) and recorded for the Plug, Not Fat, Red, and Blue Note labels. Bio ~Scott Yanow http://www.allmusic.com/artist/jerry-bergonzi-mn0000329114/biography

Although not a free jazz musician, per se, Kuhn has been an avant-gardist; he began attempting a fusion of contemporary classical elements with jazz very early in his career. Kuhn's intense virtuosity is a reflection of his training. He studied classical composition and piano for 12 years, beginning when he was a small child. He performed as a classical pianist up until 1961, at which point he began playing in a Prague-based jazz quintet. He led a trio from 1962-1966, and in 1964 began playing with his much-older brother Rolf Kuhn, an accomplished clarinetist. In the '70s, Joachim Kuhn led his own groups, and played with the violinist Jean-Luc Ponty. Kuhn had a measure of commercial success in the '70s. His star faded a bit in the '80s, but Kuhn kept active, playing challenging forms of jazz and recording occasionally. A 1997 release, Colors: Live From Leipzig, a duo with Ornette Coleman, helped fuel new interest in Kuhn; both men were in top form and the album received excellent reviews. Bio ~ Chris Kelsey http://www.allmusic.com/artist/joachim-k%C3%BChn-mn0000783907/biography

Personnel:  Piano – Joachim Kühn; Tenor Saxophone – Jerry Bergonzi

Signed By

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Red Norvo & Ross Tompkins - Red & Ross

Styles: Vibraphone And Piano Jazz
Year: 1979
File: MP3@320K/s
Time: 40:41
Size: 95,0 MB
Art: Front

(4:40)  1. Whisper Not
(7:09)  2. The One I Love Belongs To Somebody Else
(8:28)  3. How About You
(6:24)  4. It Might As Well Be Spring
(7:09)  5. All Of Me
(6:49)  6. Everything Happens To Me

Vibraphonist Red Norvo, 48 years after his first recording, sounds in fine form on this live set with pianist Ross Tompkins, bassist John Williams and drummer Jake Hanna. Tompkins, who takes the opening "Whisper Not" as his feature, fits in well with the masterful vibist and their two-chorus duets in the middle of "The One I Love" and "All of Me" (during which the bass and drums drop out) are the high points of a spirited and consistently swinging session. ~ Scott Yanow http://www.allmusic.com/album/red-and-ross-mw0001881466

Personnel:  Bass – John Williams (8) ; Drums – Jake Hanna ; Piano – Ross Tompkins ; Vibraphone – Red Norvo

Red & Ross

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Seldon Powell - End Play

Bitrate: MP3@320K/s
Time: 68:41
Size: 157.2 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[7:06] 1. Hackensack
[9:24] 2. Body And Soul
[8:03] 3. Push And Pull
[7:32] 4. Just In Time
[4:30] 5. Park And Ride
[8:31] 6. Ow!
[6:04] 7. Flintstones
[9:07] 8. Sel's Idea
[8:20] 9. Straight No Chaser

Ace saxophonist Seldon Powell came to the attention of the worldwide jazz audience in the mid fifties when he made tow fine albums for the Roost label. Strangely, however, although greatly respected by his contemporaries no major recording concern ever saw to fit to give him its backing and his opportunities as leader were few and far between. There are though many fine examples of his playing on numerous dates with the likes of Gerry Mulligan, Louie Bellson, Neal Hefti, Clark Terry and many others. Candid featured Seldon on its Basie Alumni record Swinging for the Count in the early nineties and this rare set with Seldon as leader reunites Seldon and Clark having fun at Birdland in 1993. Candid had planned more recordings with Seldon but sadly it was not to be and this set became Seldon's 'End Play'.

End Play

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Torsten Goods - Love Comes To Town

Bitrate: MP3@320K/s
Time: 59:50
Size: 137.0 MB
Styles: Vocal and guitar jazz
Year: 2013
Art: Front

[4:12] 1. You Wind Me Up
[3:58] 2. When Love Comes To Town
[4:07] 3. Freedom Every Day
[5:22] 4. Put It Where You Want It
[3:47] 5. Unlucky Like Me
[4:03] 6. Right Here Waiting
[4:36] 7. Brutal Truth
[4:17] 8. Weekend At The A-Trane
[5:02] 9. Someone Like You
[4:44] 10. Summer Lovin'
[3:28] 11. Outa Here
[5:31] 12. Night Life
[2:54] 13. They Can't Take That Away From Me
[3:44] 14. Berlin P.M.

'I feel like a propeller on an aeroplane from 1975,' says Berlin-based singer-guitarist Torsten Goods at the end of the opening track, You Wind Me Up. His 2008 CD 1980 took songs from the year of his birth as its theme. This summery, breezy recording seems to go back to the 70s for inspiration, though half the tracks are co-written by Goods himself.

His guitar style has been compared with George Benson, and the three instrumentals have something of Benson's virtuosic joie de vivre: precise phrasing with a cool, laid back feel. Goods' own Weekend at the A-Trane and Berlin P.M., could be from Benson's Breezin' era, with guest Felix Lehrmann's fine funky drumming on the latter. (Wolfgang Haffner drums superbly through the rest of the album in tandem with bassist Christian von Kaphengst) The Crusaders' Put it Where You Want It has a Steely Dan-like Fender Rhodes groove; Goods moves from BB King-like bluesy soloing to some speedy gypsy jazz lines.

Goods sings on most of the tracks. In recent years he's been working with soul singers Narada Michael Walden and Sarah Connor, and some of his songs have a jazz-dipped-in-soul sound, a little like Jamie Cullum. Swedish soul singer Ida Sand guests on her composition Brutal Truth. Here and on several songs Goods scats brilliantly in unison with his guitar solo (again Benson-like), and you always wish it would last just a little longer. Sand also guests on U2's much-covered soul-rock When Love Comes to Town (A fine arrangement that could be straight off a Bobby Bland album). Goods' voice sounds very like James Taylor here- also on his own Unlucky Like Me and You Wind Me Up, with his lazy warm tone, but his guitar style is more Pat Martino.

At times Goods has Michael Bublé’s soft plush tone and superb timing; Goods' Freedom Every Day recalls Bublé's Haven't Met You Yet. He covers Richard Marx' ballad Right Here Waiting with a gentle breathiness over Jan Miserre's excellent modern jazz piano reharmonisation and mellow trumpet solo from Till Brönner. (Miserre’s also co-written several tracks with Goods.) His voice sounds smooth and buttery as he duets with Viktoria Tolstoy on his Motown-ish Summer Lovin’ and the only standard, They Can't Take That Away From Me. Perhaps the jazziest track is a cover of Willie Nelson's Night Life, in slow 12/8, sung with a low-key vulnerability, the way Peter Cincotti does, with rich tenor sax from Marcus Lindgren.

The album's pleasantly retro sound comes in part from the fab Blood Sweat and Tears-like horn arrangements (by Miserre, Lindgren and trombonist Nils Landgren) though they're quite low in the mix. I'd love to hear Goods at a summer festival with a big band blasting out the horn lines. This album should appeal to fans of Jamie Cullum and Michael Bublé, but Torsten Goods has a sassy energy all his own. ~Alison Bentley

Love Comes To Town

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Steve Khan - The Blue Man

Bitrate: MP3@320K/s
Time: 37:55
Size: 86.8 MB
Styles: Fusion, Guitar jazz
Year: 1978/2009
Art: Front

[7:01] 1. Daily Bulls
[5:59] 2. The Blue Man
[5:25] 3. Some Down Time
[5:50] 4. The Little Ones
[4:51] 5. Daily Valley
[8:46] 6. An Eye Over Autumn (For Folon)

Steve Khan's second release was a self-produced/arranged gem. It was similar in many respects to his prior debut, yet fans will probably recall this release as their all-around favorite from Steve Khan's '70s era recordings. The horn section and solos are still there, but Khan does more conversational soloing with the reed lines. This is especially evident on "An Eye Over Autumn," and its fusion jam-fest.

The Blue Man might seem, overall, tighter, focused, and polished, and Khan's guitar tone more overdriven, more jazz rocking, and intensely penetrating in solos and intricate ostinato embellishment around song themes. The delicate reverb, delay, and crystal-clear tones on his solos are rarely heard done so well these days. Khan shows a mastering of tone and subtle bends. His phrasing is so melodic and emotionally rich that it delivers a spine-chill "rush" nearly every ten or fifteen notes. The keyboards and vibes are wonderful, sexy-silky-smooth, like a fine wine, Steely Dan, jazz rocker ballad throughout. Horns do more staccato bursts, and the percussion is more varied and polyrhythmic, becoming outright funkified boogie in places. That Latin-flavored Santana-esque groove slips through in spots. Khan again offers a beautifully executed acoustic/electric guitar outing, echoing a Larry Coryell friendship on "Daily Valley."

This release is excellent. It's no wonder his name is resident now with the lists of the great jazz guitarists of fame and genius. ~John W. Patterson

The Blue Man

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Dick Hyman - The Party's Over

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 37:35
Size: 86,6 MB
Art: Front

(3:39)  1. Embraceable You
(2:49)  2. I Wish You Love
(2:05)  3. It's All Right With Me
(2:58)  4. Here's That Rainy Day
(4:37)  5. Little Girl Blue (From Jumbo)
(3:40)  6. Long Ago (And Far Away)
(2:20)  7. Moon River (From Breakfast At Tiffany's)
(3:50)  8. Tea For Two
(3:04)  9. The Most Beautiful Girl In The World
(2:07) 10. A Barrel Of Keysy
(3:16) 11. Young And Foolish
(3:04) 12. The Party's Over

A very versatile virtuoso, Dick Hyman once recorded an album on which he played "A Child Is Born" in the styles of 11 different pianists, from Scott Joplin to Cecil Taylor. Hyman can clearly play anything he wants to, and since the '70s, he has mostly concentrated on pre-bop swing and stride styles. Hyman worked with Red Norvo (1949-1950) and Benny Goodman (1950), and then spent much of the 1950s and '60s as a studio musician. He appears on the one known sound film of Charlie Parker (Hot House from 1952); recorded honky tonk under pseudonyms; played organ and early synthesizers in addition to piano; was Arthur Godfrey's music director (1959-1962); collaborated with Leonard Feather on some History of Jazz concerts (doubling on clarinet), and even performed rock and free jazz; but all of this was a prelude to his later work. In the 1970s, Hyman played with the New York Jazz Repertory Company, formed the Perfect Jazz Repertory Quintet (1976), and started writing soundtracks for Woody Allen films. He has recorded frequently during the past several decades (sometimes in duets with Ruby Braff) for Concord, Music Masters, and Reference, among other labels, and ranks at the top of the classic jazz field. In 2013, Hyman teamed up with vocalist Heather Masse for a set of standards on the Red House label called Lock My Heart. ~ Scott Yanow & Al Campbell, Rovi  https://itunes.apple.com/us/artist/dick-hyman/id324403#fullText

The Party's Over

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China Moses & Raphael Lemonnier - This One's for Dinah

Styles:  Vocal And Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 59:09
Size: 135,7 MB
Art: Front

(4:29)  1. Fine Fine Daddy
(3:21)  2. Dinah's Blues
(2:59)  3. Mad About the Boy
(4:31)  4. Lover Come Back to Me
(4:51)  5. Is You or Is You Ain't My Baby
(5:25)  6. Blue Gardenia
(4:49)  7. Teach Me Tonight
(5:41)  8. Cry Me a River
(2:35)  9. Call Me Irresponsible
(3:51) 10. Fat Daddy
(3:33) 11. Goodbye
(4:43) 12. Evil Gal Blues
(7:17) 13. What a Difference a Day Makes
(0:59) 14. Gardenias for Dinah

Once upon a time, the Queen of the Blues was visited in her dressing room backstage by a woman and her baby daughter. The Queen of the Blues picked up the baby, looked at her and said, "She's gonna be a singer. She's definitely gonna be a singer." The prediction came true. The Queen was Dinah Washington; the baby, Dee Dee Bridgewater. Many years passed. Bridgewater married film director Otis Moses and had a daughter of her own, who Moses insisted be named China. When her mother was away touring, China was looked after by her grandmother. One day she flicked through her gran's record collection, found a record and put it on. It was by Dinah Washington. Her grandmother was horrified, thinking the music far too suggestive for such young and tender ears, and took the record off. That did it. Young China saw Dinah Washington as forbidden fruit and whenever her grandmother wasn't around, she would play her records.

More years passed. Dee Dee Bridgewater took her daughter to live with her in Paris, France. Here China has returned to the forbidden fruit of her childhood. Accompanied by a big band led by pianist Raphael Lemonnier, she's cut an album paying tribute to Washington. Things get off to a great start with the 12-bar blues "Fine Fine Daddy" and Moses' own "Dinah's Blues." She also does an excellent job on Noel Coward's "Mad About the Boy," which in 1992 29 years after Washington's death made the charts after being used to advertise jeans on television. "Lover Come Back to Me" is a swinging affair, with some solid trumpet work from Francois Biensan followed by some nice scatting by saxophonist Daniel Huck. Then Moses handles Louis Jordan's "Is You Is Or Is You Ain't My Baby?" with aplomb and there are good, workmanlike solos by Fabien Marcoz (bass) and Lemonnier.

She's less sure of herself though on the slow ballad "Blue Gardenia." And "Teach Me Tonight" is quite frankly a mess. Her flippant, meandering and at times downright strident vocal eradicates any meaning the old song might still have in the modern age. She's still got a lot to learn from her mother. The mawkishly melodramatic "Goodbye" is little better, with Moses coming on like Screaming Jay Hawkins toward close of play. She's far more self-assured on "Cry Me A River" and the two up-tempo blues "Fat Daddy" and "Evil Gal Blues." Her version of Washington's greatest hit, the ballad "What A Diff'rence A Day Makes," is really quite remarkable. A bright new star has entered the jazz firmament. The album easily makes up for its failings in the enthusiasm and good humor it conveys. It should have ended with "What A Diff'rence A Day Makes." Instead it closes with "Gardenias for Dinah," an embarrassing 50-second soliloquy by Lemonnier very French, very solemn. Washington would surely have laughed her socks off. 

~ Chris Mosey http://www.allaboutjazz.com/this-ones-for-dinah-china-moses-blue-note-records-review-by-chris-mosey.php
 

Personnel: China Moses: vocals; Raphael Lemonnier: piano; Fabien Marcoz: bass; Jean-Pierre Derouard: drums; Daniel Huck: alto saxophone; Francois Biensan: trumpet; Jean-Claude Onesta: trombone; Aurelie Tropez: alto saxophone and clarinet; Frederic Couderc: tenor and baritone saxophone; Raphael Dever: bass; Henri Le Ny: additional vocals.

This One's for Dinah

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David Kikoski - Live At Smalls

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 59:26
Size: 136,5 MB
Art: Front

(10:10)  1. Inner urge
(11:33)  2. Dirty Dogs
(11:06)  3. Billie's Bounce
(12:53)  4. 7/4 Ballad
(13:41)  5. Grey Areas

Veteran David Kikoski has long been deserving of wider recognition. In spite of a sizable discography, Live at Smalls is one of his few recordings as a leader for an American label. Joining him for this club outing are bassist Hans Glawischnig and drummer Obed Calvaire, both of whom provide strong support. Kikoski tackles two jazz standards, starting with a pulsating long workout of Joe Henderson's sizzling "Inner Urge," showcasing all three musicians in top form. Their subtly hip take of Charlie Parker's "Billie's Bounce" is an understated affair that allows plenty of space. Kikoski's compositions merit praise as well. The theme of his lighthearted "Dirty Dogs" is immediately infectious, a post-bop number with a Latin undercurrent. The brooding nature of "7/4 Ballad" is a sharp contrast to the remainder of the set, a poignant song that deserves to have lyrics. Kikoski's tension-filled "Grey Areas" is another fine extended workout that closes this memorable set. ~ Ken Dryden http://www.allmusic.com/album/live-at-smalls-mw0002001932

Personnel: Dave Kikoski (piano); Obed Calvaire (drums); Hans Glawischnig (bass).

Live At Smalls

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Billy May - A Band Is Born / Big Band Bash

Styles: Jazz, Big Band
Year: 2000
File: MP3@320K/s
Time: 68:44
Size: 158,9 MB
Art: Front

(3:14)  1. All Of Me
(3:25)  2. If I Had You
(3:03)  3. Charmaine
(2:38)  4. Unforgettable
(3:00)  5. Fat Man Mambo
(3:15)  6. Lean Baby
(3:12)  7. My Silent Love
(2:36)  8. There Is No Greater Love
(2:54)  9. I Guess I'll Have To Change My Plan
(2:45) 10. Mayhem
(2:48) 11. When My Sugar Walks Down The Street
(3:18) 12. Lulu's Back In Town
(2:59) 13. You're Driving Me Crazy
(3:15) 14. When Your Lover Has Gone
(3:02) 15. Perfidia
(2:43) 16. My Last Affair
(2:50) 17. Easy Street
(2:43) 18. Gone With The Wind
(2:21) 19. Diane
(2:33) 20. Please Be Kind
(2:28) 21. Tenderly
(2:26) 22. Orchids In The Moonlight
(2:11) 23. Romance
(2:52) 24. From The Land Of The Sky Blue Water

A Band Is Born/Big Band Bash collects two of Billy May's early '50s albums onto one CD. Both albums balance his big-band roots with a bit of the pop he would explore in his later work. "All of Me," "Fat Man Boogie," and "Lulu's Back in Town" are some of A Band Is Born's exuberant highlights, while "Orchids in the Moonlight," "Perfidia," and "Tenderly" make Big Band Bash a more romantic but still swinging  affair. A pair of May's most engaging albums. ~ Heather Phares http://www.allmusic.com/album/a-band-is-born-big-band-bash-mw0000111314

A Band Is Born / Big Band Bash

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Dion - Complete Singles A's & B's 1957-1961

Size: 179,7 MB
Time: 78:23
File: MP3 @ 320K/s
Released: 2013
Styles: Pop Rock, Doo Wop
Art: Front

01. Dion & The Timberlanes - The Chosen Few (2:45)
02. Dion & The Timberlanes - Out In Colorado (2:29)
03. Dion & The Belmonts - I Wonder Why (2:17)
04. Dion & The Belmonts - Teen Angel (2:10)
05. Dion & The Belmonts - No One Knows (2:34)
06. Dion & The Belmonts - I Can't Go On (Rosalie) (2:12)
07. Dion & The Belmonts & Orchestra - Don't Pity Me (2:33)
08. Dion & The Belmonts & Orchestra - Just You (2:28)
09. Dion & The Belmonts - A Teenager In Love (2:33)
10. Dion & The Belmonts - I've Cried Before (2:45)
11. Dion & The Belmonts - Every Little Thing I Do (1:59)
12. Dion & The Belmonts - A Lover's Prayer (2:16)
13. Dion & The Belmonts - Where Or When (2:35)
14. Dion & The Belmonts - That's My Desire (2:32)
15. Dion & The Belmonts - When You Wish Upon A Star (2:24)
16. Dion & The Belmonts - Wonderful Girl (2:35)
17. Dion & The Belmonts - My Private Joy (UK B Side) (2:00)
18. Dion & The Belmonts - In The Still Of The Night (2:38)
19. Dion & The Belmonts & Orchestra - A Funny Feeling (2:15)
20. Dion & The Belmonts & Orchestra - Swinging On A Star (UK B Side) (2:21)
21. Dion - Lonely Teenager (2:15)
22. Dion - Little Miss Blue (2:17)
23. Dion - Havin' Fun (2:18)
24. Dion - North East End Of The Corner (2:31)
25. Dion - The Kissin' Game (2:56)
26. Dion - Heaven Help Me (2:00)
27. Dion - Somebody Nobody Wants (2:43)
28. Dion - Could Somebody Take My Place Tonight (2:37)
29. Dion - Runaraound Sue (2:37)
30. Dion - Runaway Girl (2:26)
31. Dion - The Wanderer (2:38)
32. Dion - The Majestic (2:26)

Bridging the era between late-'50s rock and the British Invasion, Dion DiMucci (born July 18, 1939) was one of the top white rock singers of his time, blending the best elements of doo wop, teen idol, and R&B styles. Some revisionists have tried to cast him as a sort of early blue-eyed soul figure, although he was probably more aligned with pop/rock, at first as the lead singer of the Belmonts, and then as a solo star. Drug problems slowed him down in the mid-'60s, yet he made some surprisingly interesting progressions into blues-rock and folk-rock as the decade wore on, culminating in a successful comeback in the late '60s, although he was unable to sustain its commercial and artistic momentum for long.

When Dion began recording in the late '50s, it was as the lead singer of a group of friends who sang on Bronx street corners. Billing themselves as Dion & the Belmonts (Dion had released a previous single with the Timberlanes), their first few records were prime Italian-American doo wop; "I Wonder Why" was their biggest hit in this style. His biggest single with the Belmonts was "A Teenager in Love," which pointed the way for the slightly self-pitying, pained odes to adolescence and early adulthood that would characterize much of his solo work.

Dion went solo in 1960 (the Belmonts did some more doo wop recordings on their own), moving from doo wop to more R&B/pop-oriented tunes with great success. He handled himself with a suave, cocky ease on hits like "The Wanderer," "Runaround Sue," "Lovers Who Wander," "Ruby Baby," and "Donna the Prima Donna," which cast him as either the jilted, misunderstood youngster or the macho lover, capable of handling anything that came his way (on "The Wanderer" especially).

In 1963, Dion moved from Laurie to the larger Columbia label, an association that started promisingly with a couple of big hits right off the bat, "Ruby Baby" and "Donna the Prima Donna." By the mid-'60s, his heroin habit (which he'd developed as a teenager) was getting the best of him, and he did little recording and performing for about five years. When he did make it into the studio, he was moving in some surprisingly bluesy directions; although much of it was overlooked or unissued at the time, it can be heard on the Bronx Blues reissue CD.

In 1968, he kicked heroin and re-emerged as a gentle folk-rocker with a number four hit single, "Abraham, Martin and John." Dion would focus upon mature, contemporary material on his late-'60s and early-'70s albums, which were released to positive critical feedback, if only moderate sales. The folk phase didn't last long; in 1972 he reunited with the Belmonts and in the mid-'70s cut a disappointing record with Phil Spector as producer. He recorded and performed fairly often in the years that followed (sometimes singing Christian music), to indifferent commercial results. But his critical rep has risen steadily since the early '60s, with many noted contemporary musicians showering him with praise and citing his influence, such as Dave Edmunds (who produced one of his periodic comeback albums) and Lou Reed (who guested on that record). Dion continued to be active as the 21st century opened, releasing Déjà Nu in 2000, Under the Influence in 2005, and Bronx in Blue in 2006. His first major-label album since 1989's Yo Frankie, entitled Son of Skip James, was released by Verve in 2007, while 2008's Heroes: Giants of Early Guitar Rock saw him tackling 15 songs from the classic rock & roll era. Influenced by a conversation with rock critic Dave Marsh about his long and still relevant career, and a dare from his wife Susan to prove it, Dion cut Tank Full of Blues, producing and playing the guitars on the recording himself and writing or co-writing all but one track on the set. Issued on Blue Horizon, it is the final recording in the trilogy that began with Bronx in Blue. ~ by Richie Unterberger

Complete Singles A's & B's 1957-1961

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Sally Night - Night Time

Size: 167,8 MB
Time: 72:09
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. I Wanna Be Loved (5:49)
02. So In Love (5:51)
03. Born To Be Blue (5:53)
04. Drown In My Own Tears (5:20)
05. Just One Of Those Things (5:56)
06. I Got It Bad (9:38)
07. Blues In The Night (6:30)
08. Supa Doopa (4:25)
09. I'm Just Foolin' Myself (2:29)
10. No Soap No Hope Blues (2:50)
11. 24Hr Lovin' (6:42)
12. Too Close For Comfort (3:14)
13. Baby Don't You Go Away Mad (2:32)
14. Star Eyes (4:52)

Since her recent arrival in New York & USA Sally Night has recorded 2 new albums for Venus Records, made an opening performance at the 1st Miami- Nice Jazz Festival in Miami, Florida, made several appearances at Birdland Jazz Club NYC, performed in Tokyo at the Billboard Live Club for AXN TV and has been invited to sing as a guest singer with Jazz legends Cedar Walton, Buster Williams, Bucky Pizzarelli & performed and recorded with a polithera of other Internationally acclaimed musicians.

Sally Night's first love is music. She grew up singing in church, her various schools, playing various instruments & listening to Jazz, Classical music, Opera and other styles of music at home. Her Farther & Mother loved jazz and performed locally. Although she studied and was trained to sing Opera and has a great love of that music, she found it too restrictive.

After a long musical break and extensive traveling, Sally started to sing and perform Jazz in France. Then she started to tour Europe and work with the great Philadelphia born drummer Bobby Durham (who accompanied Ella Fitzgerald & Oscar Peterson) who taught her how to swing and encouraged her to start composing. After recording a couple of albums and receiving great reviews in Europe for her live shows & recordings and several visits to New York, Bruce Lundvall, EMI-Blue Note Records persuaded Sally to move to New York in 2012!

Night Time

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Richard Geere - Cool Cats: Essential Vintage Jazz

Size: 149,3 MB
Time: 63:54
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Swing, Boogie Woogie, Big Band
Art: Front

01. Swing, Swing, Swing (2:52)
02. Ala Mode (3:10)
03. Early Ellington (3:31)
04. Slow Rhumba (5:12)
05. Small Big Band Blues (1:23)
06. Basie Swing (3:15)
07. Jazz Club Blues (2:16)
08. Muted Trumpet Miles Atmosphere (2:03)
09. Soul And Body (4:39)
10. The Moon Was Blue (3:21)
11. Cocktail Swing Businessmen's Bounce (2:34)
12. Swing The In Blues (2:06)
13. 1930S Society Dance Orchestra (78 Rpm Version) (1:26)
14. Sax Swing (With Sticks) (1:22)
15. Sax Swing (With Brushes) (1:22)
16. Cotton Club Cabaret (3:47)
17. I Got Rhythm Changes (2:56)
18. New Orleans Parade (2:06)
19. Tin Roof Louis (3:13)
20. Fats Meets Nacio Herb (2:12)
21. Boogie Woogie Blues (2:01)
22. This Joint Is Jumpin' (2:45)
23. Minor Swing Time (2:42)
24. 1930S Society Dance Orchestra (1:27)

"The music of "Cool Cats: Essential Vintage Jazz" will give your wig a solid flip! What a solid release! Swell to hear the music of the 20's, 30's & 40's is being kept alive. Benny Goodman and Glenn Miller would be proud." Ida Garcia, Rug Cutter's Swing, Jazz 88.3 FM.

Los Angeles-based Pianist/Composer Richard Geere (Harry James Orch., Glenn Miller Orch., Tex Beneke Orch., Billy Vaughn Orch., Disney) has brought together some of the country's finest vintage jazz players to pay tribute to the 20's, 30's & 40's.

This classic era of America's unique art form is in very good hands, with this collection of all-new compositions and authentic interpretations. There are some wonderful "soundalikes" with The City of Los Angeles All Stars paying tribute to Duke Ellington, Bunny Berigan, Bix, Django, Harry James, Benny Goodman, Fats Waller, Gene Krupa and company.

Swing dancers, jazz historians and "early jazz" lecturers have all been blown away by this album's authenticty. "The players on this new cd are widely acknowledged as the best in Los Angeles, if not the country" comments Geere, a former music director for BBC television. "We've had interest in this album from all over the world, from Japan to the Czech Republic - and it's only just been released!".

All the players are veterans of countless jazz festivals around the world. "The City of Los Angeles All Stars" are dedicated to promoting and preserving classic jazz styles.

Cool Cats

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