The Stryker-Slagle Band - Live At The Jazz Standard

Styles: Guitar And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 66:11
Size: 151,8 MB
Art: Front

(8:16)  1. Mozone
(7:44)  2. Boogaloo 7
(7:07)  3. Doubleblue
(7:13)  4. I Love's You Porgy
(5:25)  5. The Great Divide
(6:43)  6. Baba Marta
(8:18)  7. Muddy Waters
(6:53)  8. The Chaser
(8:28)  9. Passing Giant

While they've worked together regularly over the years, guitarist Dave Stryker and saxophonist Steve Slagle have never recorded live together and have only one eponymous recording out under their collaborative Stryker/Slagle Band moniker. When they booked two nights at New York's Jazz Standard earlier this year to test out new material for a planned studio date, Stryker had the idea that they should record the gig and release the best material on disc. That was an inspired decision. When spontaneity is the defining factor for a group whose writing is inventive, but acts primarily as a vehicle for improvisation, live recording is often the best route. Anyone who's spent time in a studio will tell you that early (and often first) takes are the best ones, more often than not; the only certainty when you woodshed material too heavily is that you'll lose its spark. So why not combine the discovery with the kind of energy that only comes in the two-way relationship between a group and its audience? 

Stryker has operated below the radar of the greater jazz public, but he has nevertheless created a viable career with over fifteen albums under his own name. He's also spent considerable time working with artists like Stanley Turrentine and Jack McDuff. His language is rich, but he always imbues it with a soulful sense of the blues that keeps it grounded. Slagle's an exciting player with an even greater pedigree than Stryker. He first came to attention on pianist Steve Kuhn's '70s ECM recordings Motility and Non-Fiction, subsequently working with artists like Carla Bley and the Mingus Big Band and turning in surprising stints with Marianne Faithful and the Beastie Boys. In some ways he's an alto cousin to Dave Liebman, with an equally unbridled intensity even on ballads like "I Loves You Porgy, where it remains bubbling just below the surface.

Bassist Ed Howard and drummer Victor Lewis have been working together for a few years with Eddie Henderson, and they collaborated with Stryker on Big City, released earlier this year. A more intuitive team you'd be hard-pressed to find; the chemistry that's developed from Stryker and Slagle's shared history, combined with Howard and Lewis' similarly-developed simpatico, makes for a potent mix filled with possibility. That possibility is realized on Live at the Jazz Standard. Whether on the modal burn of "Mozone, the comfortable groove of "Boogaloo 7, the Latin-centric "Baba Marta, or the more reverentially bluesy "Muddy Waters, these four players listen and engage each other, making this an accessible set that's never short on surprise. The swinging "The Great Divide demonstrates Stryker and Slagle's remarkable ability to solo in tandem without cluttering the situation, creating a whole that's greater than the sum of its parts. Live at the Jazz Standard doesn't push any boundaries, but it's an unassuming and compelling collaboration that still has plenty of personality, making you wish you'd been there. ~ John Kelman http://www.allaboutjazz.com/live-at-the-jazz-standard-stryker-slagle-band-zoho-music-review-by-john-kelman.php

Personnel: Dave Stryker: guitar; Steve Slagle: alto & soprano saxes; Ed Howard: bass; Victor Lewis: drums.

Live At The Jazz Standard

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Annie Sellick - Street Of Dreams

Styles: Jazz, Vocal
Year: 2009
File: MP3@320K/s
Time: 47:41
Size: 109,6 MB
Art: Front

(3:27)  1. Cloudburst
(4:29)  2. Do It Again
(4:05)  3. Tristeza
(5:34)  4. I Know You Oh So Well
(3:56)  5. I Love Paris
(4:21)  6. Some Cats Know
(4:07)  7. Spring Will Be A Little Late This Year
(4:51)  8. Mambo-Italiano
(4:03)  9. Street of Dreams
(4:59) 10. I Keep Goin' Back to Joe's
(3:44) 11. Look Out For Love

Annie Sellick shines in full force on “Street of Dreams.” After taking some time to explore the swing band genre with her group “Annie and the Hot Club,” she hits the jazz scene hard. GAME ON! As with all previous recordings, Ms. Sellick throws herself completely into each arrangement. Her intense energy powers through it all, whether smoking up tempo or slithering through the vocal and bass lines of a sultry ballad. The music keeps all ears “locked in the moment.” “Street of Dreams” holds to Ms. Sellick’s high standards of musicianship, creativity and respect for the tradition. Two stellar trios lend their support. This first is Gerald Clayton, piano with Dan Lutz on Bass and Kevin Kanner on Drums (same trio as on Ms. Sellick’s live CD “A Little Piece of Heaven”) and Jeff Hamilton, Drums with Tamir Hendleman on Piano and Christoph Luty on Bass. Both casts bring unique talent and blend of style. Ms. Sellick floats between both with ease. The result is pure “ear candy” and testifies to the caliber of musicians who want to work with Ms. Sellick.

“Street of Dreams” weaves through eleven compositions some well known standards and others not so well known. But each one jumps to life with the interpretation and energy that Annie Sellick brings. CD pops open with a funky slow fizz on Lambert, Hendricks, and Ross “Cloudburst”. Shortly in, Kevin Kanner’s drum verse jumps out of the blocks, releases the bubbles and the tune swings to action. The obvious joy in Ms. Sellick’s voice blossoms the tune to its full flower. Switching gears. Chrisoph Luty’s rich molasses-like bass introduction on George Gershwin’s “Do It Again” lays a thick foundation for Ms. Sellick to work. By varying her tempo and exploring her vocal range, ‘tis easy to visualize a cat after a mid-day nap stretching for places seemingly out of reach. The result just feels good. On Gilberto Astrud’s “Tristeza” (Portuguese for “sadness”) and “Mambo-Italiano,” we hear Ms. Sellick’s comfort not only with Latin rhythm and lyrics but also with improvisational exchanges, showing her personality and light-hearted humor whenever possible. Sweet! Her band mates understand interpretation and create the musical atmosphere of the village cafe’ where these compositions belong.

“Spring Will Be Little Late This Year”, “I Know You Oh So Well” and “I Keep Going Back to Joe’s” illustrate Ms. Sellick’s mastery of ballads and living the lyrics. The listener easily becomes a believer. Just listen.Who doesn’t love Paris? Well “I Love Paris” gets even better in a rhythmic, waltz feel. The ensemble then tears into a straight ahead groove that showcases their swingability only later to waltz their way out of the City of Lights. Ahh! Songs with double meanings are the lyricist’s genious. “Some Cats Know” by Jerry Leiber and Mike Stoller is a greasy, torchy tune that on the first listen the message is either clear or it is not. The title says it all.

“Look Out For Love” is a story of advice to the guy who may or may not be looking for love. The choice is in the listener’s heart. Sassy and classy, like everything Annie Sellick does. “Street of Dreams” is a tricky tune with the vocals left out there to find a place to settle. There is perfect safety however with the trio swinging hard underneath. Pleasingly added to this arrangement is the well voiced, plunger-mute trumpet of Rob McGaha who expertly navigates the “Street.” One of Ms Sellick’s unique traits is how much control she has over her voice. Whether managing to a slight crack of the lyric, introducing subtle vibrato or moving from beautiful tone to speaking and smiling a line, Ms. Sellick is always under control with perfect grace. Never does an ounce of Annie Sellick’s energy go wasted. No preservatives, nothing processed just pure, organic, passionate music.Thank you, Annie Sellick! These are my comments. I welcome yours.~ Bruce Pulver http://jazztimes.com/community/articles/28026-cd-review-of-annie-sellick-s-street-of-dreams

Musicians: Annie Sellick, Vocals;  Gerald Clayton, Piano;  Kevin Kanner, Drums; Dan Lutz, Bass; Jeff Hamilton, Drums;  Christoph Luty, Piano;  Tamir Hendelman, Bass;  Rob McGaha, Trumpet

Street Of Dreams

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John Benson Brooks' - Alabama Concerto Featuring Cannonball Adderley, Art Farmer

Styles: Hard Bop, Soul Jazz
Year: 1991
File: MP3@320K/s
Time: 43:02
Size: 100,1 MB
Art: Front

(4:52)  1. First Movement: Themes: The Henry John Story/Green, Green Rocky Road/Job's Red Wagon
(3:20)  2. First Movement: The Henry John Story (Return)/Green, Green Rocky Road (Return)
(3:14)  3. First Movement: Job's Red Wagon (Return)
(7:55)  4. Second Movement: Themes: Trampin' The Loop/ Trampin' (Return)
(2:32)  5. Second Movement: The Loop (Return)
(3:12)  6. Third Movement: Theme: Little John Shoes
(5:14)  7. Third Movement: Theme: Milord's Calling/Little John Shoes (Return)/Milord's Callin' (Return)
(7:36)  8. Fourth Movement: Themes: Blues For Christmas/Rufus Playboy/Grandma's Coffin/ Blues For Christmas(Return)
(5:05)  9. Fourth Movement: Grandma's Coffin (Return)/ Rufus Playboy (Return)/ Grandma's Coffin (2nd Return)

Critic John S. Wilson, in a contemporaneous review, observed of the composer: "Working from several rural folk themes, he develops his Concerto through ensembles, written solos and improvised solos played by a quartet". Concluding in a negative vein, Wilson stated that the album "lacks movement and explicit development [...] the work becomes lost in monotony long before the two full LP sides have been completed." The Allmusic site awarded the album 3 stars with the review by Scott Yanow stating, "Although not essential, the music is thought-provoking, quite melodic, and looks backwards toward folk music of the 1800's while giving the pieces a 1950's jazz sensibility". https://en.wikipedia.org/wiki/Alabama_Concerto

Personnel: John Benson Brooks - piano, arranger; Cannonball Adderley - alto saxophone; Art Farmer – trumpet; Barry Galbraith – guitar; Milt Hinton - bass

Alabama Concerto

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Kenny Werner - The Melody

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 56:47
Size: 130,2 MB
Art: Front

(6:52)  1. Try To Remember
(9:06)  2. Who?
(8:33)  3. Balloons
(6:47)  4. 26-2
(8:11)  5. Voncify The Emulyans
(8:29)  6. In Your Own Sweet Way
(8:47)  7. Beauty Secrets

The Melody lives up to its name, but not through the simple act of melodic dissemination: pianist Kenny Werner and his trio mates don't make their mark by addressing melodies so much as by undressing them, revealing what's beneath these tuneful coverings. All seven songs on the album four Werner originals, a Broadway classic, and two standards speak to the intimate art of dialogue, the respect that exists between these three men, and the inherent possibilities that live within a song. Once polished with the cloth of invention, every piece here, be it a previously-recorded Werner tune, a new(er) original, or a classic, seems new. "Try To Remember," for example, shrugs off any maudlin qualities and nostalgic weight in favor of starry-eyed wonder, eventually revealing a touch of Sonny Rollins' "St. Thomas"; Dave Brubeck 's "In Your Own Sweet Way" is playful, quirky, and charming all at once; "Who?" is consistency and movement rolled into one; and "Beauty Secrets" is a wholly engrossing meditation on dark-complexioned allure, existing in the shadows while reflecting slivers of lights.

A flexible concept of the individual's function is central to the sound of this trio, as is the notion that no idea is so powerful as to require unwavering allegiance. This music morphs frequently, as rhythms prance, flow, stutter, and stride in unexpected ways, and each musician has a hand in making that happen. Drummer Ari Hoenig is just as likely to drive the action as he is to trace the melodic contours of a passage, bassist Johannes Weidenmueller is a grounding force and a harmonically astute linchpin, and Werner is a wide-open reservoir of musical knowledge, imparting intelligent thought with his every movement. With a decade-and-a-half of shared experiences and several strong albums already under its belt, it should come as no surprise that this trio sounds as good as it does. ~ Dan Bilawsky http://www.allaboutjazz.com/the-melody-kenny-werner-pirouet-records-review-by-dan-bilawsky.php

Personnel: Kenny Werner: piano; Johannes Weidenmueller: bass; Ari Hoenig: drums.

The Melody

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Charlie Christian - The Genius Of The Electric Guitar

Bitrate: MP3@320K/s

Time: 49:06

Size: 112.4 MB

Styles: Bop, Guitar jazz

Year: 1987/2006

Art: Front

[2:45] 1. Rose Room

[2:44] 2. Seven Come Eleven

[2:59] 3. Till Tom Special

[3:12] 4. Gone With What Wind

[2:48] 5. Boy Meets Goy (Grand Slam)

[3:17] 6. Six Appeal (My Daddy Rocks Me)

[2:58] 7. Wholly Cats

[3:00] 8. Royal Garden Blues

[3:21] 9. As Long As I Live

[3:04] 10. Benny's Bugle

[3:04] 11. Breakfast Feud

[2:54] 12. I Found A New Baby

[2:45] 13. Solo Flight

[1:42] 14. Blues In B

[5:04] 15. Waiting For Benny

[3:20] 16. Air Mail Special

Charlie Christian's tragic death at the age of 23 is a firmly entrenched fact of jazz mythology. On The Genius of the Electric Guitar, which consists of various tracks recorded with the Benny Goodman Sextet and Orchestra, Christian's revolutionary guitar playing is clearly displayed. In keeping with the era, each of these 16 songs is relatively short, with each soloist allowed only a chorus or two to make their statements. Paucity of time troubles Christian and his compatriots not a whit, however, and they let loose with concise, swinging lines. Of the other soloists on display here, Lionel Hampton and Goodman himself play admirably, but Christian is in a different league altogether, his sophistication remarkable. Exhibit A: his solo in "Rose Room." Logically constructed and rhythmically varied, it is nevertheless eminently singable. Supplementary evidence, for those not convinced, can be found on "Seven Come Eleven," "Solo Flight," and "Air Mail Special." Towards the second half of the disc there is a tendency towards more meandering, hookless charts, such as the studio throwaways "Blues in B" and "Waiting for Benny." The inclusion of these tracks, but the omission of the sides Christian recorded with his own quintet, is a puzzling choice on the part of reissue producers Bob Altshuler and Michael Brooks, and mars what is otherwise a first-rate selection of material. Nevertheless, The Genius of the Electric Guitar is a fine introduction, not just to Charlie Christian's brilliant and all-too-brief career, but to jazz guitar in general. ~Daniel Gioffre

The Genius Of The Electric Guitar

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Inge Brandenburg - Don't Blame Me

Bitrate: MP3@320K/s

Time: 40:25

Size: 92.5 MB

Styles: Vocal jazz

Year: 2014

Art: Front

[2:12] 1. S'wonderful

[2:53] 2. Lover Come Back To Me

[3:26] 3. Give Me The Simple Life

[2:55] 4. Pennies From Heaven

[3:36] 5. Secret Love

[5:44] 6. Don't Blame Me

[2:27] 7. That Old Black Magic

[4:15] 8. Lover Man

[2:34] 9. Dancing On The Ceiling

[4:27] 10. Summertime

[2:55] 11. There'll Never Be Another You

[2:56] 12. S'wonderful

Europe's Best Jazz Singer in concert 1958-1962: Ten unreleased concert recordings and two live recording sessions of IngeBrandenburg (1929-1999), voted for Europe's best female jazz singer at the festival of Juan-Le-Pins 1960. The singer live in Berlin and Frankfurt with piano trio, combo or orchestra, featuring Rolf Lüttgens Trio, RIAS Orchestra/ Werner Müller, RIAS combo and Dieter von Goetze trio. Soulful vocal jazz including S'Wonderful, Lover Come Back To Me, Secret Love or Summertime. Limited vinyl LP and 6-page-digipack CD, carefully restored and remastered in 2014, comes with unreleased archive photos and new sleeve notes.

Don't Blame Me

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Vaughn Wiester's Famous Jazz Orchestra - Jazz Tempo

Styles: Jazz, Post-Bop, Big Band
Year: 2010
File: MP3@320K/s
Time: 73:33
Size: 169,4 MB
Art: Front

( 5:18)  1. Bright Eyes
( 4:13)  2. Sugarloaf Mountain
( 5:25)  3. The Days of Wine and Roses
( 3:10)  4. Indian Summer
( 5:56)  5. Camel Driver
( 3:12)  6. The Midnight Sun Will Never Set
( 4:47)  7. Low Down
( 3:22)  8. Just A Closer Walk With Thee
( 6:24)  9. Evil Eyes
( 3:46) 10. Basie
( 5:50) 11. Turn Out the Stars
( 5:20) 12. Souse of the Border
(12:14) 13. A Frame For the Blues
( 4:29) 14. It Only Happens Every Time

Per usual we're pushing mostly big band jazz mostly in the post-bop mainstream manner. Here are a couple more of Holman's splendid works, a couple of beauties by Thad Jones, and some jewels from the Basie book two of which are thanks to John Vermeuen's very keen ear! We're pleased to be adding Slide Hampton's distinctive writing to the mix as well as a beautiful bossa nova by Alan Broadbent and a savory exotic dish from Phil Wilson that's an unforgettable ride. For us, this issue tops off with Bill Evans' "Turn Out The Stars," an eloquent eulogy to Evans' father. 

This exquisite arrangement was written by Bill Dobbins for tenorman Bryan Olsheski and we know you'll agree that its beauty is beyond description. For your enjoyment we tender all of the above in Jazz Tempo. Thanks for listening! ~ Vaughn Wiester http://www.cdbaby.com/cd/vaughnwiester

Personnel: Saxes - John Vermeulen, Jay Miglia, Bryan Olsheski, Joe Grasiosi, Bob LeBeau;  Trumpets - Erik Gimbel, Larry Everhart, Jim Powell, Bob Larson, Phil Winnard;  Trombones - Ryan Hamilton, Matt Ellis, John Hall, Bill England;  Tuba - Sean Maloney;  French horns - Scott Strohm, John Busic;  Guitar - William Flynn;  Piano - Jim Luellen;  Bass - Larry Cook;  Drums - Steve Schaar

Thank You Mat!

Jazz Tempo

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Christina Gustafsson - Moments Free

Styles: Jazz, Vocal
Year: 2007
File: MP3@320K/s
Time: 53:05
Size: 123,9 MB
Art: Front

(4:28)  1. Moments free Master 2
(3:41)  2. In a Crowd Of a Million
(4:57)  3. This Love
(6:43)  4. Circles
(4:26)  5. A Peaceful Day
(2:37)  6. Daydream
(5:09)  7. What A Waste
(3:26)  8. How Life Fools Me
(0:17)  9. Interlude
(3:36) 10. A Broken Dream
(3:43) 11. Dont Be Sorry
(5:52) 12. Something Unexpected
(4:03) 13. In The Corner Of My Eye

Although the 37-year-old singer Christina Gustafsson has been performing in her native Sweden for quite a few years, Moments Free is her long overdue recording debut. She wrote all but one selection (the pop song "Daydream") and sings throughout in English without any real accent. The music is certainly diverse, from swinging jazz and ballads to folk music and pop that slightly recalls Norah Jones. Gustafsson's voice is quite attractive and flexible, and she shows consistent enthusiasm, clearly loving singing. In addition, her lyrics are quite intelligent and occasionally insightful. Her backup group is impressive, with guitarist Max Schultz getting a fair amount of solo space and the musicians having a very good feel for her originals. Clearly Christina Gustafsson has a potentially significant future, no matter which direction she ultimately decides to take. ~ Scott Yanow http://www.allmusic.com/album/moments-free-mw0001096186

Personnel: Christina Gustafsson (vocals); Erik Söderlind, Max Schultz (guitar); Magnus Lindgren (bass flute, clarinet, bass clarinet); Daniel Karlsson (piano); Martin Höper (background vocals).

Moments Free

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Billy May's - Naughty Operetta!

Styles: Jazz, Big Band
Year: 1955
File: MP3@320K/s
Time: 30:44
Size: 71,2 MB
Art: Front

(3:13)  1. Serenade
(2:15)  2. Italian Street Song
(3:03)  3. Desert Song
(2:15)  4. Rose Marie
(2:56)  5. I'll See You Again
(2:21)  6. She Didn't Say Yes
(2:54)  7. Vilia
(2:20)  8. Huguette Wlatz
(2:44)  9. Softly as in a Morning Sunrise
(2:35) 10. One Kiss
(4:03) 11. March of the Toys

The last of the great arrangers who wrote regularly for Frank Sinatra, Billy May had several varied careers in and out of jazz. His first notable gig was as an arranger/trumpeter with Charlie Barnet (1938-1940), for whom he wrote the wah-wah-ing hit arrangement of Ray Noble's "Cherokee." Later, he worked in the same capacities for Glenn Miller (1940-1942) and Les Brown (1942) before settling into staff jobs, first at NBC studios, then at Capitol Records, where he led his own studio big band from 1951 to 1954. His arrangements for Sinatra, beginning with Come Fly With Me (1957) and ending with Trilogy (1979), are often in a walloping, brassy, even taunting swing mode, generating some of the singer's most swaggering vocals. May also did extensive scoring for television, film, and commercials. 

Although May was largely inactive in the '80s and '90s , he unexpectedly surfaced in 1996 with some typically bright big band charts for comic Stan Freberg's The United States of America, Vol. 2 (Rhino), 25 years after his contributions to Vol. 1. The veteran arranger died quietly at home on January 22, 2004 at the age of 87. Bio ~ Richard S.Ginell  http://www.allmusic.com/artist/billy-may-mn0000769388/biography

Naughty Operetta!

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Michael Wolff Trio - 2 AM

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 58:04
Size: 133,2 MB
Art: Front

( 3:15)  1. U'n'I
( 5:52)  2. The Conversation
( 4:27)  3. Jamaican Turnaround
( 5:16)  4. Mama Tell Me
( 5:29)  5. 2 AM
(10:13)  6. Nat Is Here
( 7:41)  7. Poppy
( 4:47)  8. Thanatos
( 5:26)  9. The Mews
( 5:32) 10. Nita

Michael Blieden Wolff (born July 31, 1952) is an American jazz pianist, composer, producer, and recording artist. He was honored as a Steinway Artist and obtained a Broadcast Music, Inc. award. Wolff has Tourette syndrome; he is the chairman of the Tourette Syndrome Association (TSA) and is involved in mentoring children with Tourette's through the chapters of the TSA.

Wolff was the musical director for jazz singer Nancy Wilson and later became the bandleader for the Fox syndicated late night talk show Arsenio Hall (1989–94), where he met his wife when she appeared as a special guest. Wolff provided the score and co-produced The Tic Code (1999). He also co-starred and produced the music for the film The Naked Brothers Band (2005). By early 2007, it became the pilot to the Nickelodeon musical comedy series of the same name, which he co-starred in with his sons Nat and Alex and earned a BMI Cable Award for producing the series' music. Wolff was the leader of the jazz band Impure Thoughts. Reconstructed as Wolff & Clark Expedition, it is a jazz-funk group. https://en.wikipedia.org/wiki/Michael_Wolff

Personnel:  Michael Wolff – piano;  Christian McBride, John B. Williams (#3,4) – bass; Tony Williams, Terry Lyne Carrington (#3,4) - drums

2 AM

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Dion - Wonder Where I'm Bound / Donna The Prima Donna

Size: 80,9+73,4 MB
Time: 34:20+31:05
File: MP3 @ 320K/s
Released: 1969/1963
Styles: Pop Rock, Doo Wop
Art: Front

Album: Wonder Where I'm Bound
01. I Can't Help But Wonder Where I'm Bound (2:56)
02. It's All Over Now, Baby Blue (3:32)
03. A Sunday Kind Of Love (2:47)
04. Knowing I Won't Go Back There (2:55)
05. 900 Miles (3:31)
06. Now (2:41)
07. Southern Train (3:42)
08. The Seventh Son (3:18)
09. Farewell (3:27)
10. Wake Up Baby (3:13)
11. Baby, Please Don't Go (2:13)

"Donna the Prima Donna" was one of Dion's last hits before the British Invasion interrupted his chart success for five years or so, reaching #6 in late 1963. It was written by the team of Dion and Ernie Maresca, who wrote or co-wrote a few songs recorded by Dion in the early 1960s, most notably "Runaround Sue." And, like "Runaround Sue" and those other songs, it milked a semi-chanted doo wop vocal hook that first descended and then rose again to its starting line, with the backup singers vocalizing "donna, donna, the prima donna" over and over in the intro and during the choruses. To some, it must have sounded a little formulaic for Dion at this point, and there would be some truth to that assertion. But "Donna the Prima Donna" was still a worthy hit record, if only because so much thought was put into the arrangement, putting some spin onto the familiar terrain. Especially rewarding was the opening almost a cappella vocal section, in which the round-like chants were backed by a slightly goofy bass voice, as well as what sounded like shuffling castanets. When the full band enters, as expected Dion comes on top with some rich hurt tough-guy wails. The lyrical motif of "Donna the Prima Donna," probably to the disappointment of those that respect women, was similar to that of "Runaround Sue" too: a woman that the guy falls for, but who turns out to have roving eyes. In "Donna the Prima Donna," he goes for the jugular, not just accusing her of being stuck-up, but coming down hard on her materialism as well. Donna's an archetype, perhaps, of a woman New York guys of the time were frustrated with, one who wouldn't settle down and who put on airs, but who they couldn't help lusting after. For all this, it's a pretty enjoyable record, with cool hooting harmonies by the backup singers during the verses, and a quite swinging and catchy blues-doo wop-pop verve. There's also a dramatic bridge that Dion brings to a crashing close by exclaiming he doesn't have a chance at romance with Donna without money. ~Song by by Richie Unterberger

Album: Donna The Prima Donna
01. Donna The Prima Donna (2:47)
02. Can't We Be Sweethearts (2:17)
03. Sweet, Sweet Baby (2:16)
04. This Little Girl Of Mine (2:46)
05. Flim Flam (2:54)
06. Troubled Mind (2:41)
07. This Little Girl (2:33)
08. Oh Happy Day (2:28)
09. You're Mine (2:23)
10. Donna (2:37)
11. I Can't Believe (That You Don't Love Me Anymore) (2:28)
12. Be Careful Of Stones That You Throw (2:49)

Columbia failed to release a Dion LP in 1964-1966, although he cut more than enough material for the label during that time to generate one. Just months after Dion had commercially returned from the dead with his smash "Abraham, Martin & John," Columbia patched together this assortment of odds and ends from the vaults, most of it apparently selected with an eye toward folk-rock material. Although the packaging was substandard, this is actually a pretty good collection of mid-'60s cuts that reveal (along with others that have surfaced on some other anthologies) that Dion was among the earlier significant artists to create interesting folk-rock. It would have done much more to bolster his reputation had it been issued in 1965 or 1966. Nonetheless, it contains its share of good performances, like covers of Tom Paxton's "I Can't Help but Wonder Where I'm Bound" (heard here in a version with strings, unlike the stringless one on the compilation The Road I'm On: A Retrospective), and Bob Dylan's "It's All Over Now, Baby Blue," and "Farewell." Dion himself wrote or co-wrote "Knowing I Won't Go Back There," "Now," and "Wake up Baby," which are all decent, tuneful folk-rockers with characteristic early New York folk-rock production from early Dylan producer Tom Wilson. The cover of Woody Guthrie's "900 Miles" is quality acoustic folk-blues, and Dion also proves himself a fine white bluesman on "Southern Train" and "The Seventh Son," taking a respectable stab at a Mose Allison-styled arrangement of the blues standard "Baby, Please Don't Go." On the other hand, the doo wop classic ,"A Sunday Kind of Love," sounds pretty misplaced here. This is well worth picking up, though, particularly as four of the songs ("Now," "Southern Train," "Wake up Baby," and "Farewell") don't appear on the two CD reissues of Dion's Columbia material: The Road I'm On: A Retrospective and Bronx Blues: The Columbia Recordings (1962-1965). ~by Richie Unterberger

Wonder Where I'm Bound + Donna The Prima Donna

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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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