Mike Mainieri - Northern Lights

Styles: Vibraphone Jazz
Year: 2006
File: MP3@320K/s
Time: 60:19
Size: 138,5 MB
Art: Front

(7:55)  1. Nature Boy
(7:38)  2. Poochie Pie
(7:44)  3. I've Seen It All
(8:14)  4. Vertigo
(6:55)  5. Flamenco Sketches
(6:06)  6. Naima
(5:08)  7. Dance of Ran
(5:55)  8. Bang
(4:39)  9. Remembrance

Vibraphonist Mike Mainieri has never garnered the same attention as Gary Burton, five years his junior, despite being equally cutting edge. Mainieri was one of fusion's early progenitors: Journey Through an Electric Tube (Solid State, 1968) and White Elephant (Solid State, 1969) explored new ways to incorporate a rock aesthetic with jazz. But while Burton has settled into a more mainstream comfort zone in recent years, Mainieri continues to test new waters. Northern Lights teams him with the "Norwegian Posse" a veritable who's who of the contemporary Norwegian scene. The result blends the groove and ambience of nu jazz with a somewhat more emphatic approach to soloing.  Northern Lights features four-fifths of trumpeter Nils Petter Molvaer's group including Molvaer, guitar soundscapist Eyvind Aarset, live sampler/beat programmer Jan Bang and turntablist DJ Strangefruit so it's no surprise that the disc leans heavily toward atmosphere and a generally more selfless approach emphasizing the collective rather than any individual. Drummer Anders Engen (a regular collaborator with the also-present keyboardist Bugge Wesseltoft) and Swedish bassist Lars Danielsson form a rhythm section that's more straightforward than typically found in nu jazz. Still, while the program includes a trio of standards alongside Mainieri's compositions and a Bjork song, the treatments are anything but conventional.

"Nature Boy," which opens the disc with a gentle reggae groove, is a strong feature for both Molvaer and Mainieri's lyrical, less-is-more approach. Miles Davis' "Flamenco Sketches" is propelled by a gentle backbeat, while John Coltrane's "Naima" is given an Afro-centric reading, thanks to Paolo Vinacchia's hand drums and Mainieri's marimba. The vibe is cool, but not the Nordic cool that's more a stereotypical misconception these days. Relaxed in approach, Mainieri is surrounded by a group of musicians whose command of electronics and processing is so well-integrated that it feels completely organic and, in the case of those playing "conventional" instruments, a thoroughly natural extension. Mainieri's writing ranges from the techno-centric "Poochie Pie" to the Latin-esque "Vertigo" and the snaky groove of "Dance of Ran." "Bang" is dancefloor-ready; saxophonist Bendik Hofseth's solo sound like a funky and energetic extension of Jan Garbarek's earlier years. One could imagine Mainieri playing the balladic "Remembrance" with his Steps Ahead group, but here the added string quartet and atmospherics provided by Bang, Strangefruit and Aarset take it to a more ethereal place. While the cross-pollination of artists from around the world is becoming more common, too few recorded documents exist. The ever-adaptable Mainieri fits perfectly within the sphere of nu jazz's equally malleable improvisational take on electronica. Hopefully Northern Lights will bring well-deserved North American attention to the "Norwegian Posse" and, by extension, the entire vibrant and forward-thinking Scandinavian scene. ~ John Kelman http://www.allaboutjazz.com/northern-lights-mike-mainieri-nyc-records-review-by-john-kelman.php

Personnel: Mike Mainieri: vibraphone, marimba; Nils Petter Molvaer: trumpet; Bendik Hofseth: saxophones; Bugge Wesseltoft: keyboards, synths, acoustic and prepared piano; Eyvind Aarset: electric guitar; Lars Danielsson: bass; Anders Engen: drums; Paolo Vinaccia: percussion; Jan Bang: live sampling, beat programming; DJ Strangefruit: turntables.

Northern Lights

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Peter Fesperanto Fessler & NDR Big Band - I Concentrate On You

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 54:09
Size: 124,6 MB
Art: Front

(4:57)  1. My One and Only Love
(4:46)  2. You Go to My Head
(5:12)  3. Triste
(5:44)  4. I Concentrate On You
(7:11)  5. Here's to Life
(5:29)  6. My Foolish Heart
(5:21)  7. The Gentle Rain
(4:54)  8. Voices On the Stair
(7:24)  9. Dindi
(3:07) 10. Not Like This

Fessler received with 12 years of his discoverer and mentor Rick Abao the first guitar lessons in jazz and Brazilian music. After leaving school, followed by a longer stay in the USA, where he continued dedicated to the music. The singer with Canadian - Polish - German roots played sessions in clubs, bars and hotels in New York and San Francisco. During this period also first own compositions. Back in Germany began Fessler, whose voice four octaves includes, studying for vocal jazz seminar of the Musikhochschule in Cologne and was from 1983 to 1987 the singer of Trio Rio, a Latin jazz band, in 1986 by the hit New York-Rio Tokyo became known. Then Fessler worked with a trio consisting of Berthold Matschat at the piano, Gunnar Plümer on bass and drummer Matthias hull. In order to realize his own musical ideas further, it drew Fessler for some time back in the United States, where he devoted himself to writing songs and, inter alia, with Sheila E. and Chaka Khan worked.

The renewed return to Germany followed in 1991, the first solo album My songs and various concerts and radio and TV productions. Fessler was the German voice of Aladdin in the same Walt Disney production. Here, the song was created by a True Story, a duet with Sabine Hettlich. After publication of the 1993 album Do not Tell Me is Fessler dedicated mainly a jazz and Latin jazz repertoire and composed his own pieces. On the 2000 album Signatures exclusively own compositions were. Al Jarreau took him at the Montreux Jazz Festival with his guitar as a duet partner on stage.Moreover Fessler Special Guest was with Randy Crawford's 1999's tour. He joined the end of 2003 in Tokyo. With its fusion of voice and classical guitar he has since found a new sound aesthetic. On his album The with you (2010) he interprets German poetry by Miriam Frances, Erich Kastner and Alexander Bragao. On the album Spirit of Christmas (2013) from Pee Wee Ellis, he interpreted the pop classic Last Christmas. Translate by google https://de.wikipedia.org/wiki/Peter_Fessler

I Concentrate On You

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Nils Landgren - Redhorn Collection Part I And II

Album: Nils Landgren - Redhorn Collection Part I
Styles: Trombone Jazz
Year: 2014
File: MP3@320K/s
Time: 65:29
Size: 150,3 MB
Art: Front

(5:15)  1. Traci (Live)
(3:52)  2. Simple Life
(6:15)  3. You Dig
(4:50)  4. Da Fonk
(5:40)  5. Six Beauties On a Rooftop
(5:06)  6. Riders On the Storm
(4:27)  7. Knowing Me, Knowing You
(5:05)  8. House Party
(5:39)  9. Stuff Like That
(1:19) 10. Kibera Sunrise
(5:34) 11. Mag Runs the Voodoo Down
(4:54) 12. Get Serious Get a Job
(3:42) 13. Ain't Nobody (Live)
(3:43) 14. Ack Waermland Due Skoena (Live)

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Album: Nils Landgren - Redhorn Collection Part II
Styles: Trombone Jazz
Year: 2014
File: MP3@320K/s
Time: 56:09
Size: 128,8 MB
Art: Front

(3:35)  1. Song from the Valley
(2:51)  2. Love of My Life (feat. Michael Wollny, Lars Danielsson, Johan Norberg & Rasmus Kihlberg)
(4:07)  3. This Masquerade
(4:45)  4. The Moon's a Harsh Mistress
(4:40)  5. Silent Way (feat. Nils Landgren, Lars Danielsson, Sebastian Studnitzky & Frank Kuruc)
(4:02)  6. Fire and Rain (feat. Nils Landgren)
(6:51)  7. Fragile
(3:50)  8. Imagine (Live)
(6:05)  9. You Stole My Heart (feat. Esbjorn Svensson Trio)
(6:23) 10. The Brightest Smile in Town
(4:31) 11. I Will Survive
(4:22) 12. Get Here

Swedish funk and jazz trombone player Nils Landgren spent his formative years at the music college in Karlstad and at the university in Arvika studying classical trombone. He discovered improvisation after a meeting with jazz legends Bengt-Arne Wallin and Eje Thelin and moved to Stockholm, after which he toured with Swedish pop phenomena Björn Skifs ("Hooked on a Feeling"). 

Since then, Landgren has appeared on some 500 albums, including collections from artists as diverse as Herbie Hancock, ABBA, the Crusaders, and Wyclef Jean. He released his debut solo album (Planet Rock ) in 1983, followed by a string of successful titles including Streetfighter, You Are My Nr 1, Miles from Duke, Chapter 2, and Follow Your Heart. In 1992 he formed the Nils Landgren Funk Unit, which has released numerous recordings including Live in Stockholm, Fonk da World, 5,000 Miles, and Funky ABBA. ~ James Christopher Monger https://itunes.apple.com/us/artist/nils-landgren/id252465524#fullText

Redhorn Collection Part I, Part II

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The Australian Jazz Quintet - At The Varsity Drag

Styles: Jazz, Swing
Year: 2015
File: MP3@320K/s
Time: 35:18
Size: 81,6 MB
Art: Front

(2:06)  1. Alone Together
(3:07)  2. Koala
(3:09)  3. That Old Feeling
(3:05)  4. Affaire D'amour
(3:05)  5. The Lady Is A Tramp
(3:50)  6. Lover Man
(2:42)  7. The Thrill Is Gone
(2:42)  8. New South Wail
(2:57)  9. Few Get It
(3:06) 10. So Nice
(2:43) 11. Varsity Drag
(2:40) 12. It Might As Well Be Spring

In the mid-'50s, the Australian Jazz Quartet were considered an unusual group since, in addition to piano, bass, and drums, their instrumentation had alto or flute, tenor or bassoon, and vibes. The band featured their own sly wit, which is often in evidence on this collection of tunes, particularly on "Varsity Drag." In addition to seven standards (including "Alone Together," "The Lady Is a Tramp," and "It Might As Well Be Spring"), the Aussies play three songs by Bill Holman, one from Med Flory, and an obscurity. 

The blend of bassoon, flute, and vibes in some sections is quite memorable even if the music overall was not all that innovative. Although a touch lightweight (with each of the selections clocking in around three minutes apiece), the results are enjoyable. 

~ Scott Yanow  http://www.allmusic.com/album/the-australian-jazz-quintet-at-the-varsity-drag-mw0000050371

Personnel: Dick Healey (alto saxophone, flute); Erroll Buddle (tenor saxophone, bassoon); Jack Brokensha (vibraphone); Bryce Rohde (piano); Jimmy Gannon (bass); Frankie Capp (drums).

Thank You my friend!

At The Varsity Drag

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Gerry Mulligan - Jazz Masters 36

Bitrate: MP3@320K/s
Time: 68:55
Size: 157.8 MB
Styles: West Coast jazz, Saxophone jazz
Year: 1994
Art: Front

[ 4:37] 1. You Took Advantage Of Me
[ 3:47] 2. Manoir De Mes Reves Django's Castle
[ 6:08] 3. Lady Chatterley's Mother
[ 5:28] 4. Barbara's Theme
[10:54] 5. Blueport
[ 5:59] 6. Weep
[ 9:42] 7. All About Rosie
[ 4:43] 8. Chuggin'
[ 4:32] 9. Summer's Over
[ 3:07] 10. Israel
[ 4:12] 11. Ballad
[ 5:40] 12. Big City Blues

Gerry Mulligan's Concert Jazz Band was one of the great bands of the early 1960s--of all time, really. Mulligan, whose big band (and small big band) experience went back to Gene Krupa and the Miles Davis Birth of the Cool recordings, expanded and enlarged on the sound of his quartet, sextet, and tentets in the Concert Jazz Band. This album contains a dozen cuts from the four albums the band made for Verve between 1960 and late 1962. (There are several other excellent CDs currently available, from the band's European tour in late 1960 and from an appearance at the Newport Jazz Festival earlier that year.)

Highlights of this collection include Al Cohn's wonderful sax section writing on "Lady Chatterley's Mother," the interplay between Mulligan and Clark Terry on the definitive "Blueport," and George Russell's arrangement of "All About Rosie." In addition to Mulligan (who plays piano on "Chuggin'"--he's a wonderful piano player--and clarinet on "Big City Blues") and Terry, soloists include Bob Brookmeyer (valve trombone and piano), Don Ferrara on trumpet, and Jim Reider on tenor. Mel Lewis is the drummer who makes it all happen, on all but the final recording date. That one, released as "Gerry Mulligan 1963" (although recorded in December 1962), presents a band with a somewhat different, perhaps more arranged, sound, but it includes Jim Hall on guitar. If you can find a copy of the now-discontinued Verve Compact Jazz CD of the Concert Jazz Band, you'll have a pretty complete representation of the band's official recordings. The older collection includes three cuts that are sadly missing from this one: Zoot Sims' great solos on "Come Rain or Come Shine" and "Apple Core," and Mulligan's delightful piano outing on "Let My People Be." This is a great band. Savor what's available. ~Amazon

Jazz Masters 36

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Catherine Russell - Bring It Back

Bitrate: MP3@320K/s
Time: 47:21
Size: 108.4 MB
Styles: Jazz vocals
Year: 2014
Art: Front

[3:51] 1. Bring It Back
[2:28] 2. I'm Shooting High
[4:05] 3. I Let A Song Go Out Of My Heart
[3:07] 4. You Got To Swing And Sway
[4:38] 5. Aged And Mellow
[2:37] 6. The Darktown Strutter's Ball
[3:52] 7. Lucille
[2:36] 8. You've Got Me Under Your Thumb
[5:20] 9. After The Lights Go Down Low
[3:04] 10. I'm Sticking With You Baby
[3:28] 11. Strange As It Seems
[3:10] 12. Public Melody Number One
[4:59] 13. I Cover The Waterfront

Catherine Russell is a native New Yorker, born into musical royalty. Her father, the late Luis Russell, was born in Panama, emigrated to New Orleans and then New York City, becoming a legendary pianist/bandleader/arranger/composer, and Louis Armstrong’s long-time collaborator and musical director. Her mother, Carline Ray, was a pioneering bassist/guitarist/vocalist and holder of advanced degrees from Juilliard and Manhattan School of Music, who performed with International Sweethearts of Rhythm, Mary Lou Williams, and Ruth Brown. Not surprisingly considering her pedigree, Catherine Russell is a one of a kind musician and vocalist. A graduate of American Academy of Dramatic Arts, Catherine has toured the world, performing and recording with David Bowie, Steely Dan, Cyndi Lauper, Jackson Browne, Michael Feinstein, Levon Helm, Paul Simon, Rosanne Cash, Carrie Smith, and many others.

Catherine's 5th album, Bring It Back hit the streets in February 2014 on the Jazz Village label, and received a rave Five Star review in Downbeat Magazine. With her new album, Catherine Russell digs deeper into a rich vein of musical treasures. Mining collaborations between her legendary father, Luis Russell, and the great Louis Armstrong, Catherine brings along the same team from her two previous chart-topping albums. Gems from the Jazz Age and Swing Era performed with new arrangements for 10 piece orchestra, blend seamlessly with reinventions sourced from Blues icons Esther Phillips, Al Hibbler, Wynonie Harris, and Little Willie John.

Catherine Russell is that rarest of entities – a genuine jazz and blues singer – who can sing virtually anything. Her voice is full blown feminity incarnate; a dusky, stalwart and soulful instrument that radiates interpretive power yet remains touchingly vulnerable. She launches fearlessly into each tune, getting inside the melody and capturing every emotion. Her repertoire features a selection of gems from the 1920's through the Present; vital interpretations, bursting with soul and humor. With an off-the beaten-path song selection, sparkling acoustic swing, and a stunning vocal approach, Catherine Russell joins the ranks of the greatest interpreters and performers of American Popular Song.

Bring It Back

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Marshall Royal - Gordon Jenkins Presents Marshall Royal

Bitrate: MP3@320K/s
Time: 41:41
Size: 95.4 MB
Styles: Saxophone jazz
Year: 1960/2007
Art: Front

[2:13] 1. Caravan
[3:18] 2. Ain't Misbehavin'
[3:26] 3. Birth Of The Blues
[4:52] 4. Take The A Train
[3:23] 5. When I Grow Too Old To Dream
[4:27] 6. Intermezzo
[3:24] 7. Blue Prelude
[2:43] 8. Battle Royal
[3:28] 9. Goodbye
[2:46] 10. Pagan Love Song
[3:30] 11. Black Coffee
[4:05] 12. Blues For Beverly

Altoist Marshall Royal led relatively few sessions in his career, just three full albums of his own, with the second one not released until 1978. For this project from 1960, Royal, who was still with Count Basie's big band, is backed by a string section, an occasional choral group (which sometimes gets in the way), and a rhythm section (partly from Basie's orchestra) on arrangements by Gordon Jenkins. Jenkins was best known for his lush charts for commercial settings, and the music on this CD reissue is not that much of a stretch for him. He essentially frames Royal's alto as if it was a voice. Royal, who sounds a lot like Johnny Hodges, plays well on the concise performances although much of the time he sticks near the melody. There are a few medium-tempo numbers included but this is mostly a ballad set. The overall results are nice if not particularly challenging. ~Scott Yanow

Gordon Jenkins Presents Marshall Royal

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Sanford Hinderlie - Solo Flight

Bitrate: MP3@320K/s
Time: 56:07
Size: 128.5 MB
Styles: Piano jazz
Year: 1995
Art: Front

[4:54] 1. Isle Of Paradise
[7:48] 2. Willow Weep For Me
[6:08] 3. Your Song
[5:13] 4. Phase Dance
[4:16] 5. Don't Get Around Much Anymore
[5:02] 6. Greensleeves
[6:05] 7. In Flight
[6:05] 8. Summer Haze
[5:02] 9. Killer Joe
[5:30] 10. Amazing Grace

Hinderlie appears regularly in New Orleans and has performed at the New Orleans Jazz and Heritage Festival. He is known as a performer of MIDI/synthesizer music, and composed music for television, radio and films. Hinderlie has performed in the former Soviet Union, Japan, the Middle East and Europe. This recording represents his first solo venture on acoustic piano.

Solo Flight

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Mark Winkler - Jazz Life

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 36:29
Size: 84,5 MB
Art: Front

(4:44)  1. Jazz Life
(3:50)  2. In a Minor Key
(2:13)  3. Be-Bop
(4:03)  4. Coolcats
(4:09)  5. Keely
(4:58)  6. Hip To Your Tricks
(3:47)  7. Struttin'
(4:14)  8. Scattin' in the Moonlight
(4:26)  9. Play To Win

Known for his smooth, relaxed, laid-back sense of swing, Mark Winkler is a flexible vocalist/songwriter whose influences (direct or indirect) include Dave Frishberg, Mose Allison, Kenny Rankin, and Michael Franks (among others). The Los Angeles resident is comfortable in either jazz or pop settings; he has done his share of traditional pop and crossover jazz/smooth jazz work, but he can also handle straight-ahead jazz and bop. Whether a Winkler recording has a jazz improviser's perspective or more of a pop/crossover perspective has depended on different factors, including the label and the producer. Some of Winkler's work has leaned toward the Mose Allison/Dave Frishberg side of things; other times, his approach has been closer to Michael Franks or Kenny Rankin. And either way, Winkler generally maintains his smoothness; he has never been known as a forceful, overly aggressive, or in-your-face type of singer.

Born and raised in the L.A. area, Winkler launched his recorded career in the mid-'80s. After recording some albums for the independent, L.A.-based Chase Music Group (including Color of Love, Ebony Rain, and Hottest Night of the Year), the Southern Californian freelanced for various indie labels in the '90s (including Countdown and Chartmaker). Winkler didn't build a huge catalog in the '80s or '90s; when the early 2000s arrived, his catalog added up to about six albums. But he has kept busy doing a variety of other things, which have ranged from writing songs for other vocalists to theatrical projects. Winkler whose songs have been recorded by Liza Minnelli, Randy Crawford, Dianne Reeves, and others wrote the off-Broadway musical Naked Boys Singing! (which debuted in New York in 1999 and went on to play in a few others cities as well). In 2003, the Rhombus label released Mark Winkler Sings Bobby Troup, which found him paying tribute to the songwriter who gave us gems like "Route 66," "You're Looking at Me," and "Baby, Baby All the Time." ~ Bio https://itunes.apple.com/gb/artist/mark-winkler/id48811931#fullText

Jazz Life

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Kevin Mahogany - Portrait Of Kevin Mahogany

Styles: Jazz, Vocal
Year: 2000
File: MP3@320K/s
Time: 57:55
Size: 132,9 MB
Art: Front

(6:38)  1. I'm Walkin'
(4:11)  2. Don't Let Me Be Lonely Tonight
(6:01)  3. Yesterday I Had The Blues
(4:21)  4. Teach Me Tonight
(4:50)  5. I Can't Make You Love Me
(5:57)  6. Nature Boy
(4:51)  7. Goodbye Pork Pie Hat
(6:06)  8. Love You More Than You'll Ever Know
(4:49)  9. Wild Honey
(5:19) 10. (Sittin' On) The Dock Of The Bay
(4:46) 11. Laura

On his 4th album for Warner Bros., Kevin Mahogany pulls all the genre stops and pays tribute to those by whom he clearly has been influenced. There's that funky R & B with Fats Domino's "I'm Walkin" with a raucous sax and Larry Golding's organ making the whole thing go. As much as any track, "I Love You More Than You Ever Know" reveals a Mahogany debt to Joe Williams where he and Golding's organ (again) merge to bring a shouter's explication to this blues tune. For those who swoon rapturously with smooth jazz, you'll love "Wild Honey". Nat King Cole's great hit "Nature Boy"gets a jazz treatment, but on this one Mahogany sounds as if he's not convinced he's doing this tune justice. 

Maybe Nat King Cole's seminal version is running through his head. One of the classic rock anthems of our time, Otis Redding's "Sittin' on the Dock of the Bay", has the deep Southern Soul sound to it that Redding attached to this popular song. As he continues his perusal of the popular music genre, Mahogany is joined by a slew of outstanding instrumentalists. Unfortunately, the copy of the CD I have for review doesn't link the artist with the track they play on. Since "Laura" is from the soundtrack of the movie Midnight in the Garden of Good and Evil Michael Brecker's solo is recognizable. Golding is alone on organ. It's likely that on the smooth jazz cuts Kirk Whalum has the sax lead. Also Joe Lovano's tenor is quite recognizable on a languid "Goodbye Pork Pie Hat". In an era where good male singers are at a premium, Mahogany is a star in rather a limited galaxy. ~ Dave Nathan http://www.allaboutjazz.com/a-portrait-of-kevin-mahogany-kevin-mahogany-warner-bros-review-by-dave-nathan.php

Personnel: Kevin Mahogany - Vocals;  Larry Goldings - Organ;  Peter Bernstein,  Larry Carlton - Guitar;  Kirk Whalum,  Joe Lovano, Michael Brecker - Saxophone;  Gregory Hutchinson- Drums; J ames Weidman,  Brad Mehldau , Bob James - Piano;  Rodney Whitaker,  Larry Grenadier - Bass

Portrait Of Kevin Mahogany

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Labek - Love At Last

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 63:08
Size: 145,4 MB
Art: Front

(5:19)  1. You Don't Know What Love Is
(5:36)  2. Somewhere Between
(3:01)  3. What A Difference A Day Makes
(3:13)  4. September Song
(4:29)  5. It Doesn't Get Any Better Than This
(2:54)  6. What's New
(4:54)  7. You Won't Be Coming Back
(3:26)  8. Autumn In NY
(3:59)  9. For John
(4:07) 10. Cry Me A River
(4:13) 11. The Jazz In You
(2:40) 12. Last Night When We Were Young
(4:11) 13. The Man That Got Away
(2:40) 14. Your Caress
(4:51) 15. You Make Up For It All
(3:27) 16. Love At Last

Labek has been singing and performing since the age of nine. After winning a full scholarship to Cornell University, where she received an MFA, she moved to NYC. There, she pursued a performance career, starring in a number of repertory plays, working on parts in TV and on Broadway. Throughout her career she spent many hours developing her craft, preparing, and finally bringing all her experience and wisdom to recording her vocal artistry. She moved to Boston where she presently is part of the faculty at Berklee College of Music. The combination of life experiences; spiritual and musical development has produced an artist with fearless integrity, an original, with a powerful voice who must be heard. The choice of material is always meaningfully dealt with in terms of her individuality and passion for storytelling. She features world-class musicians who compliment her arrangements and she chooses new works with songwriters whose songs are so well crafted that some are inseparable from the selection of standards. ~ Bio http://www.cdbaby.com/Artist/labek

Love At Last

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Milt Jackson - Explosive! Meets The Clayton-Hamilton Jazz Orchestra

Styles: Vibraphone Jazz
Year: 2002
File: MP3@320K/s
Time: 64:15
Size: 149,1 MB
Art: Front

(5:54)  1. Bags' Groove
(7:41)  2. Since I Fell For You
(5:25)  3. Evidence
(3:28)  4. Back Home Again In Indiana
(5:23)  5. Deed I Do
(5:20)  6. The Nearness Of You
(5:36)  7. Major Deagan (Blues For Dan)
(5:48)  8. Emily
(6:53)  9. Along Came Betty
(6:00) 10. Revibal Meeting
(6:43) 11. Recovery

In a recording career that's spanned more than half a century, the masterful vibraphonist Milt Jackson has seldom been less than flawless. For Explosive!, his fifth disc on Quincy Jones's well-distributed Qwest label, Jackson is suitably teamed with the well-populated Clayton-Hamilton Jazz Orchestra. It too, is no exception; offering a sterling collection of Jackson's pleasing blend of blues and ballads. Jackson has only recorded with big bands on a surprisingly infrequent basis (his Verve recordings with Ray Brown, two dates from the early 1960s on Riverside and some work in the late 70s with Count Basie's band come to mind). But he has plenty of connections to this music. Helmsman arranger/bassist John Clayton studied with Jackson's soul mate and frequent musical sparring partner, Ray Brown. Clayton has also served a rewarding apprenticeship in Basie's band and his tasteful, swinging arrangements recall the brassy soulfulness Quincy Jones offered to many a Basie session (and plenty others like Ray Charles too).

So Milt's at home here still swinging like he did back in the Forties (consider how he enlivens Monk's "Evidence" here and recall the vibraphonist was heard on the original all those years ago). If there's any gripe - and it's a true quibble - it's that Jackson seems like a guest on his own session. He swings in between the more dominating orchestra (with exceptional offerings from reedman Jeff Clayton, trumpeter Snooky Young and trombonist George Bohanon) and even sits out of "Deed I Do" and "The Nearness of You" altogether. But, as expected, he's above reproach and completely in charge of "Major Deegan," the inevitable "Bag's Groove," and the newer originals, "Revibal Meeting" and "Recovery." Explosive! could have been recorded in the late Fifties, at a time when jazz orchestras like this flourished. Today, it's positively out of the ordinary to hear a big star front a (real) big band. But it shows how ageless and timeless the concept is when it's done right as it is here. ~ Douglas Payne 

http://www.allaboutjazz.com/explosive-milt-jackson-warner-bros-review-by-douglas-payne.php

Players:Milt Jackson: vibes; John Clayton, Jr.: arco bass; Jeff Hamilton: drums; Jeff Clayton: alto sax, flute, clarinet; Byron Stripling, Eugene "Snooky" Young, Oscar Brasher, Clay Jenkins, Bobby Rodriguez: trumpet; Ira Nepus, George Bohanon, Isaac Smith: trombone; Maurice Spears: bass trombone; Keith Fiddmont: alto sax, flute, clarinet; Ricky Woodward, Charles Owens: tenor sax, clarinet; Lee Callet: baritone sax, bass clarinet; Bill Cunliffe: piano; Christoph Luty: bass; Jim Hershman: guitar.

Explosive! Milt Jackson Meets The Clayton-Hamilton Jazz Orchestra

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Emily McEwan - In The Wee Small Hours

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 38:42
Size: 89,3 MB
Art: Front

(3:46)  1. In The Wee Small Hours
(4:43)  2. Never Let Me Go
(4:43)  3. End of A Love Affair
(6:03)  4. Turn Out The Stars
(6:33)  5. Double Rainbow
(5:14)  6. Three Coins In The Fountain
(2:56)  7. Time After Time
(4:41)  8. Ae Fond Kiss

Her debut album of original compositions, Emily McEwan Highland Fling, was released in 2006 and the album was produced by Grammy-winning producer Paul Svenre. The music is a mix of jazz, Scottish folk and pop and has been compared to that of Joni Mitchell, Rickie Lee Jones and Burt Bacharach. Her second solo album, In This Place, released in 2010 on the label Inside Music, also produced by Pål Svenre. Emily McEwan also sings Scottish folk music and jazz, and has done concerts with, among others, Gunnar Bergsten, Nisse Sandstrom and Mathias Algotsson. She even has its own jazz trio and has performed at jazz clubs around Sweden, but also in a number of jazz festivals internationally as Stockholm Jazz Festival, the Edinburgh Jazz Festival and the Dubai Jazz Festival. Translate by google ~ Bio https://sv.wikipedia.org/wiki/Emily_McEwan

In The Wee Small Hours

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Tommy Flanagan - The Smart Attitude

Bitrate: MP3@320K/s
Time: 70:15
Size: 160.8 MB
Styles: Piano jazz
Year: 2011
Art: Front

[5:57] 1. Eclypso
[6:24] 2. Willow Weep For Me
[4:40] 3. Delarna
[3:42] 4. Chelsea Bridge
[5:54] 5. How Long Has This Been Goin' On
[3:17] 6. Relaxin' At Camarillo
[4:18] 7. Beat's Up
[4:13] 8. So Sorry Please
[2:12] 9. Verdandi
[2:28] 10. Skål Brothers
[7:04] 11. Little Rock
[5:51] 12. Willow Weep For Me (Alt Take)
[2:06] 13. Verdandi (Alt Take)
[3:45] 14. Chelsea Bridge (Alt. Take)
[3:44] 15. Chelsea Bridge (Alt Take 2)
[4:32] 16. Delarna (Alt Take)

Known for his flawless and tasteful playing, Tommy Flanagan received long overdue recognition for his talents in the 1980s. He played clarinet when he was six and switched to piano five years later. Flanagan was an important part of the fertile Detroit jazz scene (other than 1951-1953 when he was in the Army) until he moved to New York in 1956. He was used for many recordings after his arrival during that era; cut sessions as a leader for New Jazz, Prestige, Savoy, and Moodsville; and worked regularly with Oscar Pettiford, J.J. Johnson (1956-1958), Harry "Sweets" Edison (1959-1960), and Coleman Hawkins (1961). Flanagan was Ella Fitzgerald's regular accompanist during 1963-1965 and 1968-1978, which resulted in him being underrated as a soloist. However, starting in 1975, he began leading a series of superior record sessions and since leaving Fitzgerald, Flanagan has been in demand as the head of his own trio, consistently admired for his swinging and creative bop-based style. Among the many labels he has recorded for since 1975 are Pablo, Enja, Denon, Galaxy, Progressive, Uptown, Timeless, and several European and Japanese companies. For Blue Note, he cut Sunset and Mockingbird in 1998, followed a year later by Samba for Felix. Despite a heart condition, Flanagan continued performing until the end of his life, performing two-week stints at the Village Vanguard twice a year, recording and touring. He died on November 16, 2001, in Manhattan from an arterial aneurysm.

The Smart Attitude

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Ann Hampton Callaway - To Ella With Love

Bitrate: MP3@320K/s
Time: 58:38
Size: 134.2 MB
Styles: Vocal jazz
Year: 2005
Art: Front

[2:44] 1. Let's Fall In Love
[3:50] 2. Do Nothin' Till You Hear From Me
[3:35] 3. A Fine Romance
[4:56] 4. Embraceable You
[5:07] 5. How High The Moon
[4:24] 6. But Not For Me
[3:27] 7. I'm Beginning To See The Light
[5:03] 8. Body And Soul
[3:06] 9. That Old Black Magic
[5:35] 10. Little Girl Blue
[3:37] 11. Lullaby Of Birdland
[4:48] 12. Ev'ry Time We Say Goodbye
[5:07] 13. I Got It Bad (And That Ain't Good)
[3:12] 14. Oh, Lady Be Good

Ann Hampton Callaway has a strong reputation as one of the top cabaret singers of the 1990's but, unlike most others in that idiom, she is also a talented jazz singer. Callaway, who has a beautiful voice with a wide range, always swings while giving strong emphasis to the lyrics she is interpreting. Her ambitious and successful Ella Fitzgerald tribute uses on some songs a string section (recorded in Estonia), an American big band, a trio consisting of pianist Cyrus Chestnut, bassist Christian McBride and drummer Lewis Nash and (On "Do Nothin' Till You Hear From Me" and "How High The Moon") guest trumpeter Wynton Marsalis. Although Callaway does not sound that much like Ella, she pays tribute to the First Lady of Song through her repertoire (14 superior standards), phrasing and joyful swing. Highpoints include "A Fine Romance," "But Not For Me," an emotional "Little Girl Blue" and a stomping rendition of "Lady Be Good." This is a highly recommended elease that both serves as a memorial to Ella and as a strong introduction for jazz listeners to Ann Hampton Callaway. ~Scott Yanow

To Ella With Love

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Wild Bill Davis, Eddie Davis - Live In Chateau Neuf-Du-Pape

Bitrate: MP3@320K/s
Time: 67:57
Size: 155.5 MB
Styles: Swing, Saxophone jazz
Year: 2008
Art: Front

[8:38] 1. Impulsions
[6:44] 2. Cubano Chant
[7:15] 3. Avalon
[4:44] 4. Ghost Of A Chance
[3:43] 5. The Shadow Of Your Smile
[6:47] 6. Loose Walk
[4:42] 7. Misty
[7:34] 8. Lester Leaps In
[3:35] 9. The Girl From Ipanema
[9:26] 10. Things Ain't What They Used To Be
[4:43] 11. Oh! Ah! Dee Dee

Wild Bill Davis (org), Eddie Lockjaw Davis (ts), Billy Butler (g), Oliver Jackson (d). Recorded Live January 17, 1976 in Château Neuf du Pape, France. Digitally remastered.

A smoking live set with a very old school sound – and a quartet that features Wild Bill Davis on organ, Eddie Lockjaw Davis on tenor, Billy Butler on guitar, and Oliver Jackson on drums!

Live In Chateau Neuf-Du-Pape

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Peter Fesperanto Fessler - Fly!

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 41:57
Size: 96,4 MB
Art: Front

(4:00)  1. Passage
(2:46)  2. Postcard from Brazil
(6:19)  3. Estate
(4:24)  4. Brisa
(3:13)  5. Summer Good Beyes
(3:06)  6. A Ra
(4:40)  7. Tokyo Morning
(4:30)  8. There goes Love
(3:26)  9. October Reverie
(5:28) 10. Funky Bossa

The eminence of German vocal jazz is back! Peter Fesperanto Fessler´s new jazzalbum FLY! will be released in June 2012. Fessler´s trademark melody garlands shine through all the songs, but not every song illustrates improvised jazz. Even people who don´t like jazz will notice the elegant, sophisticated phrasing and will inevitably be drawn into Fessler´s sound cosmos. The German-Canadian artist has been a household name in vocal jazz for more than 30 years now. With stunning ease, he combines different musical worlds, with spheric sound structures as in Tokyo Morning“, Brisa“ and the classic Estate“ as well as through refined rhythmical sections in Postcard from Brazil“, A Ra“ or Funky Bossa“. But he always remains true to his own soundvisions both as a composer and singer. Under the impression of a recent trip to Brazil, he recorded the whole album not only as a singer but played accoustic guitar, too. Deliberately Fessler places reminiscences of Joao Gilberto, Tom Jobim and other masters of Bossa Nova with virtuosity. The name Fesperanto“ is made up from Fessler and Esperanto, kind of his own artistical category and an artistname acquired in an advanced period of Fesslers career. Listen to the trombone-like vocal solo in his own song Brisa“: Far from virtuous scat-vocals you might expect from an artist of his distinction, this singer does not imitate instruments, he has turned himself into a true instrument!

New York, Rio, Tokyo“ turned into a slogan that played an important role in Fessler´s musical journey to the worlds jazz metropolises in the past as in present times. His band consists of true masters of their kind: Danny Gottlieb, drummer legend from the original Pat Metheny Group, accounts for a footing of virtuous ease and creative intensity. This is challenged by the outstanding bassist Decebal Badila, who is even able to playfully double along Fessler´s scat-solo in Joao Donatos A Ra“. A novelty in Fessler´s work, charming guest-voices Kira Wolf (Germany) and Theresa Hott (Brazil) appear in 3 songs. Only the voices of the enchanting choir sections are all sung by the master himself. Postcard from Brazil“ is the outstanding song of this CD and illustrates Fessler’s concept of Fesperanto“. 

Among his own compositions, alongside with There goes Love“ (lyrics by Phyllis Molinrary) and October Reverie“, Tokyo Morning“ forms one of the highlights. The magic sound structure of this song creates a downright symphonic  impression crowned by the sax solo of Friedemann Matzeit (Berlin). Chapeau! All arrangements and compositions were penned in collaboration with guitarrist and producer Ralph Herrnkind. Former fellow students Fessler and Herrnkind met again years later at a studio recording with Jaco Pastorius` sons. That was the initial spark for FLY! 10 songs of amazing melodical beauty, exotic rhythmic sounds and melancholic depth (Estate). A real Fesperanto“ album! http://www.caremusicgroup.de/en/artist/info/artist/Peter%20Fessler.html

Fly!

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Kevin Mahogany - My Romance

Styles: Jazz, Vocal
Year: 1998
File: MP3@320K/s
Time: 48:12
Size: 110,7 MB
Art: Front

(4:24)  1. Teach Me Tonight
(4:44)  2. Everything I have is Yours
(4:21)  3. My Romance
(3:55)  4. I Know You Know
(4:11)  5. Don't Let Me Be Lonely Tonight
(4:11)  6. Stariway to the Stars
(4:43)  7. May I Come in?
(4:46)  8. Wild Honey
(4:55)  9. I Apologize
(4:03) 10. How Did She Look?
(3:55) 11. Lush Life

Saxophonists Kirk Whalum and Michael Brecker lend a helping hand on singer Kevin Mahogany’s ballad album. It’s a romantic session with piano trio and expressive melodies. Mahogany experiences a few pitch problems on the title track; the arrangement leaves his voice out front and naked. Bass and drums sit out that one, and the result is one of vulnerability for the singer; not an uncommon event when the topic of romance comes along. Elsewhere, his husky baritone voice blends well with the piano trio and saxophones. "Lush Life," the other exception, finds vocalist and pianist in a serious moment, keeping the romantic fires burning in a pared-down setting.

Mahogany is at his best belting out the blues message, as he does with Michael Brecker’s help on Lyle Lovett’s "I Know You Know." The saxophonist returns for "May I Come In?" with a confident air that adds a swagger to the steps of the ballad. Mahogany relates the lyrics’ apologetic message, leaving no doubts about the meaning. James Taylor’s expressive ballad "Don’t Let Me Be Lonely Tonight" serves to demonstrate Mahogany’s main strength: telling stories from the heart in a convincing manner. Keeping up with the romantic mood of the album, Kilson accompanies "Everything I Have is Yours" with hands on the drums. The piano trio and vocalist have assembled this romance album with care, and the result is a volume of stories that serve as the optimal candlelight dinner aura.~ Jim Santella http://www.allaboutjazz.com/my-romance-kevin-mahogany-warner-bros-review-by-jim-santella.php

Personnel: Kevin Mahogany (vocals); Yergenia Strenger, Laura Seaton (violin); Sue Pray, Nick Cords (viola); Eugene J. Moye, Sarah Seiver (cello); Kirk Whalum, Michael Brecker (tenor saxophone); Hilary James (piano); Billy Kilson (drums).

My Romance

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Keith Andrew - Keith Andrew

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 52:49
Size: 121,2 MB
Art: Front

(6:21)  1. Samasama
(6:45)  2. Pookie's Groove
(6:24)  3. Broken Bone
(6:18)  4. Extreme
(5:53)  5. Sonoma Home
(4:29)  6. You're the One for Me
(6:20)  7. Always With Me
(4:35)  8. In This
(5:41)  9. Nutty Blues

Originally from Baltimore, Maryland, Keith began playing guitar at 10 years old. As a teenager he moved with his family to the San Francisco Bay Area where he was exposed to the rich and diverse SF music scene. His passion and desire for further knowledge led him to Los Angeles where he had the opportunity to study with some of the world's greatest jazz and contemporary guitarists such as: Robin Ford, Joe Pass, Buzz Fieten, Scott Henderson and Joe Diorio. While attending college in Los Angeles, Keith was a featured soloist with the Chaffey College Jazz Ensemble, earning several awards for outstanding musicianship from the National Association of Jazz Educators. He later went on to attend the world-renowned Guitar Institute of Technology. Graduating at the top of his class, he subsequently joined the faculty as a staff instructor. Shortly after graduating from the Guitar Institute, Keith teamed with Keyboardist and Composer Morris Beeks. Shortly thereafter, the duo formed the Jazz/R&B band Himalaya. The Himalaya sound was soon defined by Keith's unique compositions, soon making it one of the most popular and dynamic groups on the L.A. circuit.

Himalaya released their debut album "Friend to Friend" which received national airplay. Shortly thereafter, they embarked on a nationwide tour with notable appearances at the Santa Barbara Jazz Festival as well as major nightclubs and Venues in New York, Washington D. C., Memphis and San Diego. Now residing in the San Francisco Bay Area, Keith Andrew has found his true creative voice. Inspired by the diverse multicultural musical mix found in the San Francisco scene, his style has gravitated toward a World Jazz Fusion Style. His taste for world music was also inspired by performing at some of the top bay area venues with the popular South African band "Zulu Spear". It was with that band the he teamed up with 2 excellent musicians from Austin Texas. Multi-instrumentalists and Producers, Cecil (P-Nut) Daniels and Carlton Lowe have been at the core of many of Keith's SF based recording and live performance projects. The have also formed the popular groups: "Sound Minds" and "P-Nut and The Apocalypse". Bio ~ http://www.cduniverse.com/productinfo.asp?pid=7149232&style=music

Keith Andrew

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J.J. Johnson & Kai Winding - Jay & Kay + 6

Styles: Trombone Jazz
Year: 2010
File: MP3@320K/s
Time: 34:28
Size: 80,6 MB
Art: Front

(2:57)  1. Night In Tunisia
(2:38)  2. Piece For Two Tromboniums
(2:18)  3. Rise 'N' Shine
(2:34)  4. All At Once You Love Her
(3:26)  5. No Moon At All
(2:04)  6. Surrey With The Fringe On Top
(2:28)  7. The Peanut Vendor
(3:00)  8. You're My Thrill
(2:35)  9. Jeanne
(3:58) 10. Four Plus Four
(3:30) 11. You Don't Know What Love Is
(2:53) 12. The Continental

It was around the years when this recording was made that trombone groups, whether they be choirs, quartets, septets, or some other configuration, were in vogue. Kai Winding recorded several during the 1950s with his own group and with his oftentimes playing partner, J.J. Johnson. This album is the product of one of those occasions. Recorded over a three-day period in 1956 and originally issued on a Columbia LP, Johnson and Winding are joined by fellow slide instrumentalists Bob Alexander, Eddie Bert, Urbie Green, Jimmy Cleveland, Tom Mitchell, and Bart Varsalona, the latter two on bass trombone, plus an all-star rhythm section of Hank Jones, Milt Hinton, and Osie Johnson. Also somewhat of an item during this period was the trombonium, an upright valve trombone resembling a euphonium. Johnson and Winding use this instrument on some of the cuts, including "A Night in Tunisia" and "Piece for Two Tromboniums." 

The playing here is simply terrific, as one would expect from this eminent cast of trombonists. The only problem is that after a while, one begins to yearn for some other horns, especially the sax, to get a change in the harmonics and voicings. Nonetheless, the playing, both solo and in ensemble, is brilliant and is a prime example of how the trombone had evolved from essentially a tailgate to an instrument that could execute fast-moving bop tunes and use a controlled vibrato and enveloping tone on slower numbers. There's plenty to choose from both categories on this session. The players on this album were in the vanguard of that metamorphosis. This LP richly deserved to be reissued on CD.~ Dave Nathan http://www.allmusic.com/album/jay-and-kai-6-the-jay-and-kai-trombone-octet-mw0000965548

Personnel:  J.J. Johnson - Trombone, Trombonium;  Kai Winding - Trombone, Trombonium;  Urbie Green – Trombone;  Bob Alexander – Trombone;  Eddie Bert – Trombone;  Jimmy Cleveland - Trombone; Tom Mitchell - Bass Trombone;  Bart Varsalona - Bass Trombone;  Hank Jones – Piano;  Milt Hinton – Bass;  Ray Brown – Bass;  Osie Johnson – Drums;  Candido Camero - Conga, Bongo

Jay & Kay + 6

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