Jim Hall - You Are Not Alone: Bossa Nova Summer Dreams

Bitrate: MP3@320K/s
Time: 77:31
Size: 177.5 MB
Styles: Bossa Nova, Jazz guitar
Year: 2015
Art: Front

[4:25] 1. Samba De Orfeu
[5:29] 2. Chega De Saudade (No More Blues)
[3:16] 3. Serenata
[2:26] 4. Maria
[4:09] 5. Theme From Black Orpheus
[5:33] 6. El Prince
[2:23] 7. Time For Love
[4:30] 8. Curacao Doloroso
[2:19] 9. Insensatez
[7:16] 10. The Night Has A Thousand Eyes
[2:52] 11. Desafinado
[2:30] 12. Rio After Dark
[5:37] 13. Samba Cantina
[3:11] 14. Lalo Bossa Nova
[1:48] 15. I'm Looking Over A Four Leaf Clover
[4:53] 16. Embarcadero
[2:00] 17. Samba Do Perroquet (Parrot Samba)
[4:42] 18. Bossa Antigua
[6:18] 19. A Ship Without A Sail
[1:44] 20. You And Me

A harmonically advanced cool-toned and subtle guitarist, Jim Hall was an inspiration to many guitarists, including some (such as Bill Frisell) who sound nothing like him. Hall attended the Cleveland Institute of Music and studied classical guitar in Los Angeles with Vicente Gómez. He was an original member of the Chico Hamilton Quintet (1955-1956), and during 1956-1959 was with the Jimmy Giuffre Three. After touring with Ella Fitzgerald (1960-1961) and sometimes forming duos with Lee Konitz, Hall was with Sonny Rollins' dynamic quartet in 1961-1962, recording The Bridge. He co-led a quartet with Art Farmer (1962-1964), recorded on an occasional basis with Paul Desmond during 1959-1965 (all of their quartet performances are collected on a Mosaic box set), and then became a New York studio musician. He was mostly a leader during the following years and, in addition to his own projects for World Pacific/Pacific Jazz, MPS, Milestone, CTI, Horizon, Artist House, Concord, MusicMasters, and Telarc, Jim Hall recorded two classic duet albums with Bill Evans. A self-titled collaboration with Pat Metheny followed in 1999. A flurry of studio albums, reissues, and compilations followed throughout the next few years, with the exceptional Jim Hall & Basses standing out for its bass/guitar duet format. Jim Hall died at his apartment in Manhattan on December 10, 2013; he was 83 years old. ~bio by Scott Yanow

You Are Not Alone: Bossa Nova Summer Dreams

---

Bobby Broom - Modern Man

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 63:46
Size: 146,3 MB
Art: Front

(6:33)  1. Dance for Osiris
(6:36)  2. Ponta Grossa
(5:46)  3. Superstition
(5:29)  4. Mo'
(6:27)  5. I'll Never Fall in Love Again
(6:16)  6. Blues for Modern Man
(9:43)  7. Old Devil Moon
(4:40)  8. A Pec a Sec
(6:09)  9. After Words
(6:02) 10. Layla

Call it what you want, Soul Jazz, Organ Jazz, whatever, but the brand of music birthed by the B-3 explosion of the 1960s is alive and well in the third millennium. Blue Note’s new banner reads “One Label Under a Groove” and groups like Medeski, Martin and Wood, and Soulive continue the extract marketable material from the legacy left by such legends as Jimmy Smith, Jack McDuff, Jimmy McGriff. With all press and popularity surrounding this fresh wave of groove-centric bands players who predate their success are often swept over. Guitarist Bobby Broom and his partners on this recent Delmark date, definitely fall into this category of overlooked artisans. 

Broom’s been actively gigging for over two decades and served as sideman to the likes of Sonny Rollins, Miles Davis and Art Blakey over the years. His fluid picking style and mild amplification references such 60s stalwarts as Thornel Schwartz and George Benson. Dr. Smith, also known under the tongue-in-cheek sobriquet of The Turbanator, shows a level of restraint that negates the hurricane histrionics suggested by his nickname. Dealing in easy swirling fills and well-oiled accents, his light touch at the keyboard fits smoothly into the leader’s relaxed musical framework. Muhammad, once known as one of the funkiest drummers on the scene also plays things cool, never resorting to heavy-sticked bombast and instead covering the rhythmic range with taste and discretion. Ronnie Cuber, a baritonist who believes in the merits of both brawn and balladry, interestingly got his start in Smith's employ during the late 60s at the apex of the original organ jazz craze. Live at the Club Mozambique, an album they cut for Blue Note, is an excellent example of their early fireworks.

The skill and restraint shown by each man makes the prospect of lumping the quartet alongside the current crop groove purveyors appear an unfair enterprise. Seasoning their music with subtle underlying syncopations their sounds are more aligned with swinging post-bop than the greasy funk favored by their peers. The grooves aren’t thick and pasty, but instead porous and enveloping. The band’s reworking of the Stevie Wonder classic “Superstition” is a fitting microcosm of their esthetic. Gone are the fat and funky electric piano beats of Stevie’s original version. In their place is a lubricious distillation of the theme forwarded by Cuber and Broom in unison above a bustling, bopish rhythm. Ballads like “Ponta Grossa” and “I’ll Never Fall In Love Again,” while taken at slower tempos and often imbued with a softer sheen still maintain a steep level of musicianship. Where the disc slips a few notches is in the chosen material. Given the reputations and past work of the players there’s a surprising amount of caution on hand in the arrangements. While pleasant several, such as the set ending “Layla” seem slightly divorced from the fire and weight this band is so obviously capable of stoking. Still, compared to most of what passes for organ jazz these days the program has enough sparks to make it worth investigation. More importantly may it serve as the catalyst to raise awareness of these players above and beyond the core audience that are already hip to their substantial and satisfying grooves. ~ Derek Taylor  http://www.allaboutjazz.com/modern-man-bobby-broom-delmark-records-review-by-derek-taylor.php

Personnel: Bobby Broom- guitar; Dr. Lonnie Smith- Hammond B-3 organ; Ronnie Cuber- baritone sax; Idris Muhammad

Modern Man

---

Emma Pask - This Madness Called Love

Styles: Jazz, Vocal
Year: 2007
File: MP3@320K/s
Time: 54:04
Size: 124,2 MB
Art: Front

(4:26)  1. This Madness Called Love
(4:23)  2. Under A Blanket Of Blue
(3:00)  3. Evidence
(4:47)  4. It's All A Game
(4:36)  5. Short People
(7:10)  6. No Regret
(4:13)  7. Woudn't It Be Loverly
(4:48)  8. Shadow Of Your Smile
(5:57)  9. Let There Be Love
(6:07) 10. Introduce Me To Your Friend
(4:33) 11. Imagination

The greatest gift to Australian Jazz Vocals in the last decade is how James Morrison, Australia’s most awarded jazzman, describes Emma Pask.  Her talent was spotted by James Morrison during one of his regular visits to high schools when she was just 16. She first sang with his band that night and has been touring with Morrison around Australia and overseas, ever since. While Emma’s voice and style are unique, and individually her own, her performances are reminiscent of the classic era of jazz, when swing was top of the charts. By request, in 2006, Emma performed the Bridal Waltz for Nicole Kidman and Keith Urban’s wedding, also performing through the evening with a swinging set of big band numbers with the Sydney All Star Big Band. Earlier that same year, Emma was awarded the Mo Award for “Jazz Vocalist of the year”. Emma has been a regular guest on national TV shows like Hey, Hey Its Saturday, the Midday Show, Good Morning Australia, the Today show, and has also sung to VIP audiences including the late Diana, Princess of Wales, Princess Mary of Denmark, and the Prime Minister of Australia.

You’ll often hear Emma’s voice on numerous Television Commercials, movie soundtracks and voice over work. She has performed to audiences of up to 80,000 people, Sung in London at The Queen Elizabeth Hall with the BBC Concert Orchestra, In China with The Shanghai Symphony Orchestra, In Auckland with the NZ Philharmonic, With Barbara Morrison, Don Burrows, Ed Wilson, Conductor Sean O’Boyle, With the WA Symphony Orchestra, Recorded with the BBC Big Band in London, Performed at the Phillips International Jazz Festival in Kuala Lumpur, At the Myer Music Bowl in Melbourne, In Cape Town S.A with the Darius Brubeck Trio, Toured her band ‘The Emma Pask Qunitet” through Laos and Singapore Performed in Rome Italy, And has preformed at the Sydney Opera House, guesting alongside James Morrison with the Sydney Symphony Orchestra.Christmas time 2011, Emma had her debut appearance on Channel 9’s Carols by Candlelight. 2012 began with performances in Uruguay, South America, for which Emma received Rave Reviews, and continued on to Switzerland where she performed at the Ascona Jazz Festival. Following the enormous success of her first 2 albums, “Emma” and “This Madness called Love”, Emma has released her third solo album, “Some other Spring”. Despite her achievements and the international recognition of her talent, Emma retains her natural, refreshing and unpretentious, positive approach to life. James Morrison says “Whilst it’s fashionable to be a jazz singer these days, she’s the real thing!” http://www.emmapask.com/about/

This Madness Called Love

---

Allan Vaché's Florida Jazz Allstars - Allan Vache's Florida Jazz Allstars

Styles: Clarinet Jazz
Year: 1997
File: MP3@320K/s
Time: 70:00
Size: 160,9 MB
Art: Front

(8:39)  1. Meet Me Tonight In Dreamland
(5:00)  2. Spain
(7:12)  3. My Inspiration
(6:44)  4. My Honey's Lovin' Arms
(5:00)  5. Krazy Kapers
(4:47)  6. Baby Won't You Please Come Home
(6:33)  7. Breezin' Along With the Breeze
(6:09)  8. South Rampart Street Parade
(3:49)  9. What's New?
(5:18) 10. Jubilee
(5:36) 11. Poor Butterfly
(5:07) 12. Sleep

This interesting Dixieland-oriented set features a septet of fine players who at the time were based in Florida. Clarinetist Allan Vache, trombonist John Allred, pianist Johnny Varro and ageless bassist Bob Haggart are quite well-known in trad circles, while drummer Ed Metz, Jr. has a growing reputation. Guitarist Bob Leary (who takes two vocals) sounds fine, but it is the up-and-coming cornetist David Jones who is the main discovery of this CD. The musicians all have chances to shine, and among the many high points of the easily enjoyable set are "Meet Me Tonight in Dreamland," "My Honey's Lovin' Arms" and "Jubilee." ~ Scott Yanow  http://www.allmusic.com/album/florida-jazz-allstars-mw0000046946

Personnel: Allan Vaché (clarinet); Bob Leary (guitar); David Jones (cornet); John Allred (trombone); Johnny Varro (piano); Ed Metz, Jr. (drums).

Allan Vache's Florida Jazz Allstars

---

Aki Takase - My Ellington

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 61:08
Size: 140,3 MB
Art: Front

(6:37)  1. The Mooche
(2:38)  2. A Little Max (Parfait)
(6:26)  3. Solitude
(6:10)  4. In a Mellow Tone/ Do Nothing Till You Hear From Me
(7:10)  5. Caravan
(3:40)  6. Lotus Pond
(5:38)  7. Love You Madly/ I Let a Song
(5:15)  8. I Got It Bad and That Ain't Go
(2:57)  9. Take the Coltrane
(3:28) 10. It Don't Mean a Thing
(2:53) 11. Fleurette Africaine
(3:18) 12. Battle Royal
(4:51) 13. Ad Lib On Nippon

Aki Takase, the Berlin-resident Japanese pianist, combines some very attractive virtues: a fearless relish for treading close to the edge, formidable technique, deep jazz knowledge, a shrewd sense of how to balance abstract improv and song structure, as well as a sense of humour. This riveting Duke Ellington-dedicated solo set (only one of the 13 tracks is a Takase original) cherishes timeless tunes such as The Mooche or Caravan, but also illuminates the path that leads from Ellington to Thelonious Monk, and from Monk to Cecil Taylor. The Mooche is very Monkish, but is also shaped by Takase's dynamic vision: the countermelody is played as plunging loud chords resolved in tiptoeing figures; the improvisation is a flicker of flinty runs, clangs, sinister low chords and blues turns. 

Takase imperceptibly sketches the melody of the ballad Solitude within ebbs and swells of chords, joins In a Mellotone to Do Nothing Till You Hear From Me with bouncing stride piano that dissolves into scalding Taylorisms, and sets the tune of Caravan stalking peremptorily in and out of rumbling low ostinatos. Fleurette Africaine is played as romantically as Ellington himself might have done, and a wild I Hear Music barges into the left-hand walk and splintered dissonances of Battle Royal. Free-jazz fans and Ellington admirers may rarely have been brought so close together. http://www.theguardian.com/music/2013/jun/06/aki-takase-my-ellington-review

My Ellington

---

Arndt Baeck - Auszeit

Styles: Vocal and Piano
Year: 2012
File: MP3@320K/s
Time: 49:36
Size: 113,7 MB
Art: Front

(3:52)  1. Das bin ich (Klavierversion)
(4:26)  2. Zeugnistag (Klavierversion)
(3:07)  3. Dankeschön (Klavierversion)
(4:34)  4. Jessie
(3:37)  5. Hau einfach ab! (Solo Version)
(4:18)  6. Dochters
(5:58)  7. Hallelujah
(3:03)  8. Ich will mehr! (Solo Version)
(4:37)  9. The River
(4:17) 10. Das ist das Leben (Klavierversion)
(3:16) 11. Papa
(4:25) 12. Ich lieb Dich (Klavierversion)

One Man - One Piano ............................... that's what Arndt Baeck distinguished. On his solo CD you get exactly and a bit more. The successful mix of original songs and cover songs in-house production of the singer and pianist Arndt Baeck is a real break for lovers of handmade music. Catchy German-language pop music, coupled with well-known evergreens, soulful arranged and sung. Given a shot of Dutch pop culture ... Arndt Baeck is not just a multi-instrumentalist ...

A man, a piano .... At the very beginning showed the Huder with Bruce Springsteen song River that him are soulful songs especially. He moved the audience from the very beginning in its spell with many own pieces as I am, and yet from Hau. Arndt Baeck sings about life, love and sometimes disappointment. Again and again it goes in his lyrics also to children. In the song thank describes the father of two daughters, like a little child can change your life. But the Huder with family connections to the Netherlands also sang a song of the Dutch songwriter Marco Borsato and Stef Bos. The pop music of the Dutchman impressed me very much in my youth, he told the audience. On Arndt Baeck CD out there are six of his own songs and six cover versions, including Jessie Joshua Kadison and Hallelujah by Leonard Cohen, which he presented to the public. ...... At the end of two and a half hour concert, the audience applauded enthusiastically and got two encores. (Weser Kurier)  Translate by Google   http://www.amazon.de/Auszeit-Arndt-Baeck/dp/B00872LV7Y

Auszeit

---

Mabel Mercer - Sings Cole Porter

Bitrate: MP3@320K/s
Time: 50:12
Size: 114.9 MB
Styles: Vocal
Year: 1955/1996
Art: Front

[3:37] 1. It's De-Lovely
[3:37] 2. Ev'ry Time We Say Goodbye
[3:14] 3. Experiment
[2:46] 4. Ours
[2:57] 5. After You
[2:08] 6. Where, Oh Where
[2:47] 7. It's All Right With Me
[4:35] 8. So In Love
[2:50] 9. Looking At You
[3:10] 10. When Love Comes Your Way
[1:48] 11. I Am Ashamed That Women Are So Simple
[2:59] 12. Use Your Imagination
[2:37] 13. Ace In The Hole
[2:52] 14. Just One Of Those Things
[5:04] 15. From This Moment On
[1:22] 16. All Of You
[1:42] 17. Down In The Depths

Born at the turn of the century, Mabel Mercer dwelled at the heart of cabaret culture, first as a dancer in Paris's legendary Bricktop's and then as a singer in New York, influencing artists from Frank Sinatra to Bobby Short. Her precise articulation and developed sense of a song's drama defined cabaret singing, and those skills are ideally suited to Porter's songs, what with their sculpted ironies and casual melodies. Her art is especially apparent on Porter's less-celebrated songs--like "Ours" and "I Am Ashamed That Women Are So Simple"--the crisp minidramas and period pieces that haven't become standards. Beneath their polished surfaces and perfect diction, Mercer's performances are able to suggest different depths of character and restrained passions. ~Stuart Broomer

Sings Cole Porter

---

Martin Taylor - Sketches: A Tribute To Art Tatum

Bitrate: MP3@320K/s
Time: 44:39
Size: 102.2 MB
Styles: Jazz guitar, Crossover jazz
Year: 2001
Art: Front

[3:53] 1. Ol' Man River
[3:55] 2. Don't Get Around Much Anymore
[5:06] 3. Blues For Mr. T
[2:10] 4. It's Only A Paper Moon
[3:17] 5. I've Got The World On A String
[3:25] 6. Honeysuckle Rose
[3:45] 7. How High The Moon
[4:39] 8. Takin' A Chance On Love
[2:23] 9. Time After Time
[2:23] 10. All The Things You Are
[3:15] 11. All The Things Your Are
[1:50] 12. Cotton Tail
[4:32] 13. Misty

Martin Taylor's earliest recordings have long been difficult to acquire, but they finally reappeared in 2006 on this P3Music CD reissue. The masterful guitarist was already a dazzling player in 1983, when the solo performances on this disc were recorded. Taylor intended his tribute to incorporate the spirit, warmth, and humor of Art Tatum, without trying to duplicate the legendary pianist's pyrotechnics on guitar, which would have been impossible, in any case. Tatum only recorded six of the first ten compositions, though Taylor succeeds in getting the listener to imagine what fun he might have had playing other songs, working a brief excerpt of Gershwin's "An American in Paris" into Jerome Kern's "Ol' Man River." His breathtaking dash through "Taking a Chance on Love" and the lively tribute "Blues for Mr. T" also merit strong praise. When Taylor tackles Tatum's favorite standards, it becomes clear that a virtuoso is in the making, especially with his show-stopping finale of "All the Things You Are." Three 1978 duets with guitarist Ike Isaacs, who was a very important mentor to Taylor during his early years, are an added bonus. ~Ken Dryden

Sketches: A Tribute To Art Tatum

---

Daryl Hall & John Oates - The Very Best Of Daryl Hall & John Oates

Bitrate: MP3@320K/s
Time: 73:44
Size: 168.8 MB
Styles: Soul, R&B, Pop-rock
Year: 1989
Art: Front

[3:07] 1. Sara Smile
[2:24] 2. Crazy Eyes
[3:43] 3. It's A Laugh
[4:04] 4. Wait For Me
[4:34] 5. You've Lost That Lovin' Feeling
[4:21] 6. Kiss On My List
[3:04] 7. You Make My Dreams
[3:34] 8. Private Eyes
[5:08] 9. I Can't Go For That (No Can Do)
[3:35] 10. Did It In A Minute
[4:31] 11. Maneater
[4:17] 12. One On One
[3:23] 13. Family Man
[4:15] 14. Say It Isn't So
[4:33] 15. Adult Education
[4:07] 16. Out Of Touch
[5:32] 17. Method Of Modern Love
[5:24] 18. Some Things Are Better Left Unsaid

There's one thing wrong with The Very Best of Daryl Hall & John Oates, and it's minor -- the promotional 12" mix of "Adult Education" is included in favor of the 7" version. This isn't a big deal and it doesn't mar what is the best overview of Hall & Oates' RCA years, the era when they became the biggest-selling duo in the history of rock. If the Atlantic years were more adventurous, dabbling in folk and album rock, The Very Best of demonstrates the virtues of consistency, since these blue-eyed soul songs rank among the very finest singles (and songs) of their time. And Hall & Oates weren't unadventurous, either, since they deftly blended elements of new wave, contemporary soul, and soft rock into their signature sound. Most impressively, smaller hits like "Wait for Me" and the splendid "Did It in a Minute" (easily one of the greatest songs they ever cut) more than hold their own alongside familiar items like "Sara Smile," "You Make My Dreams," "Private Eyes," and "Maneater." Hall & Oates may not have been hip, but they made addictive soul-pop that not only rocketed to the top of the charts but has stood the test of time as some of the best pop made during the early '80s. ~Stephen Thomas Erlewine

The Very Best Of Daryl Hall & John Oates

---

Red Mitchell, Warne Marsh - Big Two (2-Disc Set)

In the 1950s, critics talked of East and West coast jazz. It was a way of playing the racial card, with East coast representing black, played from the gut; while West was white, played from the mind. As far as the dogmatists were concerned: East good, West bad. The word "cerebral" became a term of abuse. No group of musicians was more cerebral than the one centered around Lennie Tristano, a pianist and teacher, based awkwardly in New York. To make things even more awkward, before his arrival in the Big Apple, Tristano had led his own Dixieland outfit in his native Chicago, and played tenor saxophone and clarinet in a rhumba band. He was outspoken and unafraid of controversy. His stated aim was to expand the harmonic horizons of jazz. Lee Konitz was the best known Tristano disciple. Tenor saxophonist Warne Marsh another.

Marsh met bassist Red Mitchell in New York in 1946, introducing him to Tristano and his ideas. They next got together on the West Coast in 1952 and by 1957, Mitchell was playing as part of a Marsh-led quartet that also featured pianist Ronnie Ball and drummer Stan Levey. Then Mitchell found himself at odds with American foreign policy, most notably on Vietnam, and he moved to Sweden in 1968.It wasn't until the late 1970s that he began returning to the States and met up, once again, with Marsh. They started playing as a duo, something that had considerable rarity value. They played a week-long gig at Sweet Basil in New York and were featured on National Public Radio. As a result of this, Mitchell secured them an engagement at Fasching, the leading modern jazz club in Stockholm, the Swedish capital, where the 22 tracks on this double-CD were recorded on April 18-19, 1980.

The collection opens, appropriately, with Lennie Tristano's "317 East 32nd Street," which the pianist constructed out of the changes of the old standard "Out of Nowhere." But, as if to refute looming accusations of cerebralism, it continues with "South American Way," a song forever associated with camp "Brazilian Bombshell" Carmen Miranda. Throughout, Mitchell pushes the melodic limitations of his instrument, which he tuned in fifths, like a violin. On occasion he almost makes it sing, while still keeping perfect time. Perhaps the most cerebral number is the old warhorse "Lady Be Good," on which Marsh recreates, note-for-note from memory, the solo Lester Young played on his 1936 recording. (Tristano encouraged pupils to sing solos by Young and other jazz greats, while Marsh was a member of the original version of Supersax, which orchestrated Charlie Parker's solos note-for-note. No doubt a cerebral dead end, but interesting nonetheless.) Most of the compositions are taken from The Great American Songbook, others are bebop classics based on the chord changes of standards. Funky it ain't but swing it does, with great taste and subtlety as well as some superb improvisations. ~Chris Mosey

Album: Big Two (Disc 1)

Bitrate: MP3@320K/s

Time: 54:39

Size: 125.1 MB

Styles: Saxophone jazz

Year: 2009

Art: Front

[4:40] 1. 317 East 32nd Street

[4:09] 2. South American Way

[5:07] 3. Star Eyes

[4:41] 4. Oh, Lady Be Good

[4:29] 5. It's You Or No One

[5:44] 6. These Foolish Things

[5:28] 7. In A Mellow Tone

[4:09] 8. Just You, Just Me

[6:05] 9. You Stepped Out Of A Dream

[5:28] 10. Embraceable You

[4:34] 11. Little Willie Leaps

Big Two (Disc 1)

---

Album: Big Two (Disc 2)

Bitrate: MP3@320K/s

Time: 56:22

Size: 129.0 MB

Styles: Saxophone jazz

Year: 2009

Art: Front

[4:24] 1. Hot House

[5:08] 2. Undertow

[7:07] 3. Lover Man

[4:25] 4. Tea For Two

[4:07] 5. Gone With The Wind

[5:15] 6. Ornithology

[4:42] 7. It Could Happen To You

[7:07] 8. Easy Living

[4:24] 9. I'm Getting Sentimental Over You

[4:53] 10. Background Music

[4:44] 11. Scrapple From The Apple

Big Two (Disc 2)

---

Phil Woods - Rights Of Swing

Bitrate: MP3@320K/s

Time: 38:41

Size: 88.6 MB

Styles: Hard bop, Saxophone jazz

Year: 1960/2013

Art: Front

[ 6:35] 1. Prelude And Part 1

[ 7:43] 2. The Rights Of Swing Ballad

[ 5:42] 3. The Rights Of Swing Waltz

[11:23] 4. The Rights Of Swing Scherzo

[ 7:16] 5. The Rights Of Swing Presto

This Candid recording is such a major success that it is surprising that altoist Phil Woods has rarely recorded in this context. The all-star octet not only features the altoist/leader but trumpeter Benny Bailey, trombonist Curtis Fuller, baritone saxophonist Sahib Shihab, the innovative French horn player Julius Watkins (a major factor in this music), pianist Tommy Flanagan, bassist Buddy Catlett, and drummer Osie Johnson. This set (reissued by Black Lion on CD) consists entirely of Woods' five-part "Rights of Swing" suite, which clocks in around 38 minutes. The colorful arrangements use the distinctive horns in inventive fashion and the music (which leaves room for many concise solos) holds one's interest throughout. One of Phil Woods' finest recordings, it's a true gem. ~Scott Yanow

Rights Of Swing

---

Bonnie J. Jensen - The Sapphire Tree

Styles: Jazz, Vocal
Year: 2007
File: MP3@320K/s
Time: 68:03
Size: 156,5 MB
Art: Front

(6:43)  1. The Sapphire Tree
(7:08)  2. I Still Haven't Found What I'm looking For
(7:23)  3. Colombus
(5:17)  4. A Night In Tunisia
(7:22)  5. Aeroblue
(4:47)  6. Night and Day
(5:38)  7. Little Wing
(6:23)  8. Neon Soliloquy
(6:13)  9. Ain't No Use
(5:50) 10. Angel Eyes
(5:13) 11. Lead The Way

With this, her third CD for La Brava, Bonnie J Jensen has moved up several artistic and creative notches. The Sapphire Tree is a highly mature and at the same time entertaining piece of work, a superb balance of the familiar and the new.......As a vocalist, she is blessed with astonishing accuracy and a deep feeling for her lyric.... (Steve Robertson, PBS Radio, Melbourne)

A vocal and instrumental tour de force. (South China Morning Post, April 2007)

"... she draws on many influences, sounding sometimes reminiscent of Renee Geyer, at others traces of Peggy Lee or Sarah Vaughan emerge…” (The Australian Weekend Review review February 2007)

Bonnie J Jensen’s third album “The Sapphire Tree” follows the last recording “Blue Joy” on her continuing journey towards a more personal style resulting in a certain glowing warmth of sound and musical integrity. The collaboration with the core musicians of the ARIA (Australia's equivalent of the Grammys) winning jazz group Wanderlust, brings an element of contemporary and European jazz flavour to the sound. This compliments Bonnie’s soulful interpretations well and subtly enhances her unique approaches to her diverse selection of songs, including three new engaging originals including the title song.

Listeners familiar with her past work will appreciate Bonnie’s signature treatments of classic songs, both jazz standards and pop classics.

Here they have reworked U2’s “I still haven’t found what I’m looking for” by changing the meter and adding a haunting horn arrangement. Her rendition of Jimi Hendrix’s “Little Wing”, like many of the tracks on this album, displays the wide emotional range of her voice.

Bonnie is s a respected and versatile singer, songwriter and pianist. Born in New Zealand but based in Sydney, Australia for many years, she has also performed repeatedly in Europe, Japan and Hong Kong.
She released her debut album “Lucky So & So” in August 2001. This album quickly reached No.3 in the Australian Independent Jazz Charts. It was surpassed by her second release “Blue Joy” in 2004 that featured luminaries Don Rader (trumpet), Jeremy Sawkins (guitar) and Jonathan Zwartz (bass). “Blue Joy” rose to No. 8 in Japan’s (vocal) Jazz charts for the month of June 2004. Both albums now sell in 6 countries and receive a lot of local airplay in Australia. http://www.cdbaby.com/cd/jensen3

Personnel: Bonnie J Jensen –Vocals, Piano (Tracks 1, 5, 7, 3);  Alister Spence –Fender Rhodes, Organ, Piano (Tracks 2, 4, 9, 11);  Craig Walters – Tenor and Soprano Saxophone;  Fabian Hevia – Drums, Percussion;  Jeremy Sawkins – Guitars;  John Napier – Cello;  Jonathan Zwartz – Bass;  Miroslav Bukovsky – Trumpet, Flugelhorn

The Sapphire Tree

---

Lionel Loueke - Heritage

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 61:04
Size: 142,2 MB
Art: Front

(7:37)  1. Ifê
(6:23)  2. Ouidah
(7:14)  3. Tribal Dance
(7:33)  4. Hope
(4:40)  5. Freedom Dance
(6:12)  6. Chardon
(5:29)  7. Farafina
(2:47)  8. African Ship
(3:42)  9. Goree
(9:24) 10. Bayyinah

On Heritage, Benin-born Lionel Loueke takes a more electric approach than on previous releases, which mostly featured his acoustic, nylon-string guitar. This change is immediately felt on the opening "Ifê," beginning with the muted notes of an acoustic steel-stringed guitar whose sound resembles a kalimba (thumb piano). Loueke is backed solely by his trio (rounded out by bassist Derrick Hodge and drummer Mark Guiliana) here, and plays a dexterous solo with the help of a pitch bender pedal. Co-producer and pianist Robert Glasper joins him on various tunes, but the gentle "Hope" (co-written by Glasper and Loueke) is the first to stand out thanks to its simple structure that gives much opportunity for free improvisation. The wordless vocal duet between Loueke and Gretchen Parlato gives the tune a dream-like feel. Glasper's "Tribal Dance" has all of the pianist's trademarks, but also gives a lot of freedom for the musicians to improvise around the melody, while Loueke's highly syncopated "Farafina" has a more intricate structure that also gives much space for moments of brilliance from the bandleader and his trio.

Another notable track is "African Ship," a short syncopated tune that features Glasper's intricate piano grooves. Loueke adds various vocal effects as the pianist improvises freely around the melody. The chemistry between the two musicians is quite evident, and that can also be said about the other participants on the disc, especially on Glasper's "Bayyinah," featuring individual moments from all four band members and closing the disc with the same excitement as the first track. Loueke and Glasper are among a handful of new voices bringing fresh sounds to contemporary jazz, and helping usher a whole new audience to the genre thanks to their creativity, technique and eagerness to break new ground. Heritage is a great example of this fresh new approach. ~ Ernest Barteldes  http://www.allaboutjazz.com/heritage-lionel-loueke-blue-note-records-review-by-ernest-barteldes.php

Personnel: Lionel Loueke: acoustic and electric guitar; Robert Glasper: piano, Fender Rhodes; Derrick Hodge: electric bass; Mark Guiliana: drums; Gretchen Parlato: voice (3, 4).

Heritage

---

Woody Shaw - The Time Is Right

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 46:54
Size: 107,5 MB
Art: Front

(12:16)  1. From Moment to Moment
(12:03)  2. Time Is Right
(12:14)  3. You and the Night and the Music
(10:19)  4. We'll Be Together Again

Although the quintet featured on this CD reissue from the Italian Red label was one of trumpeter Woody Shaw's finest, it failed to make much of an impact before breaking up. Teamed with trombonist Steve Turre, pianist Mulgrew Miller, bassist Stafford James and drummer Tony Reedus for an Italian concert, Shaw stretches out on two of his originals plus "You And The Night And The Music" and "We'll Be Together Again"; all four of the numbers clock in between 10-12 minutes apiece. High-quality advanced hard bop. ~ Scott Yanow  http://www.allmusic.com/album/time-is-right-mw0000098485

Personnel: Woody Shaw (trumpet); Steve Turre (trombone); Mulgrew Miller (piano); Tony Reedus (drums).

The Time Is Right

---

Orrin Evans - Flip The Script

Bitrate: MP3@320K/s
Time: 44:30
Size: 101.9 MB
Styles: Piano jazz
Year: 2012
Art: Front

[4:25] 1. Question
[4:44] 2. Clean House
[3:11] 3. Flip The Script
[3:27] 4. When
[5:28] 5. Big Small
[2:54] 6. A Brand New Day
[5:43] 7. Tc's Blues
[6:01] 8. Someday My Prince Will Come
[4:08] 9. The Answer
[4:26] 10. The Sound Of Philadelphia

Orrin Evans: piano; Ben Wolfe: bass; Donald Edwards: drums.

In the wrong hands, the contemporary piano trio can sound like a retread of piano trios since the dawn of popular music. In the right hands it remains a potent force: exciting, engaging, full of imagination and capable of flights of invention. The hands of Orrin Evans are the right hands. The Philadelphia-born pianist is approaching 20 years as a recording artist and, by the sound of Flip The Script, he's in one of his most creative periods to date. Much of the music on Flip The Script is characterized by a high-energy drive, with tunes such as "Clean House" and "Flip The Script" utilizing a fast-paced, aggressive and breathtaking approach. "The Answer" shares the drive of the faster numbers, thanks especially to Edwards' drums, but the pace is reduced a little on this swinging tune.

The slower tunes are equally inspiring: speed and strength give way to control and emotional engagement from all three players to form a set of resonant and powerful melodies. "Big Small" is a very slow blues on which Evans' percussive lines and Wolfe's fat, lowdown, tones contrast with Edwards' lighter patterns. "When" is more downbeat—a romantic, flowing, ballad.Evans includes four contrasting cover versions. The slightly fractured rhythms and repeated phrases of "Question," by Tarbaby bassist Eric Revis, give the tune a strong bebop feel as well as a sense of fun. Evans invests "Someday My Prince Will Come" with a bluesy mood, an air of uncertainty that eschews the swing and optimism of Dave Brubeck or Bill Evans' versions to hark back to the tune's first appearance on the soundtrack of Snow White And The Seven Dwarfs (1937). Two soul tunes also put in an appearance. Luther Vandross' "A Brand New Day" swings strongly, Edwards and Wolfe driving the rhythm as Evans opens up with hard-hitting but melodic piano. Evan's solo performance of Gamble and Huff's "The Sound Of Philadelphia" (the theme tune to Soul Train) is exquisite. Another slow, almost funereal, tempo finds Evans exploring new avenues within the song, drawing out a reflective melancholy, a longing for times past, that is genuinely affecting.

Evans already has an exceptionally strong discography, so to describe Flip The Script as one of his finest is to give it high praise indeed, which is exactly what it deserves. It's going to take a lot of pushing and shoving to get Flip The Script out of the 2012 Best Of lists. ~Bruce Evans

Flip The Script

---

Blue Mitchell & Orchestra - A Sure Thing

Bitrate: MP3@320K/s
Time: 34:49
Size: 79.7 MB
Styles: Bop, Trumpet jazz
Year: 1963/2013
Art: Front

[5:37] 1. West Coast Blues
[4:44] 2. Blue On Blue
[4:30] 3. A Sure Thing
[5:20] 4. Hootie Blues
[3:45] 5. I Can't Get Started
[4:54] 6. Hip To It
[5:55] 7. Gone With The Wind

Blue Mitchell, Clark Terry (tp), Jerome Richardson, Jimmy Heath, Pepper Adams (saxes), Wynton Kelly (p), Sam Jones (b), Albert Heath (d). Recorded at Plaza Sound Studios in New York City on March 7 (tracks 2 & 5), March 8 (tracks 3 & 4), and March 28 (tracks 1, 6 & 7), 1962

This album presents Mitchell in a vigorous and well-balanced set of arrangements scored and conducted by Jimmy Heath. Apart from Mitchell, one of the most melodic trumpeters of his generation, Heath (on tenor) is the other main soloist, in virile and inventive form throughout. Baritonists Pepper Adams on Blue on Blue, and Pat Patrick on Hip to It, also contribute a couple of tough, passionate solos, while Wynton Kelly is the personification of self-assurance, good taste, and unabated swing throughout.

A Sure Thing

---

Alison Burns - Kissing Bug

Bitrate: MP3@320K/s
Time: 51:33
Size: 118.0 MB
Styles: Vocal jazz
Year: 2007
Art: Front

[3:16] 1. Kissing Bug
[3:00] 2. You'd Be So Nice To Come Home To
[4:48] 3. The Good Life
[3:31] 4. But Not For Me
[4:51] 5. Love Me Or Leave Me
[4:56] 6. Cry Me A River
[4:09] 7. No Moon At All
[2:51] 8. By Myself
[3:23] 9. Too Good To Be True
[3:58] 10. Shadow Of Your Smile
[4:35] 11. Can't Help Loving That Man
[5:08] 12. The Thrill Is Gone
[3:01] 13. The Way You Look Tonight

Acclaimed by the Glasgow Herald as "One of Scotland's foremost jazz singers," the sensual, supple voiced Alison Burns made a promising case for success on a more global scale on this impressive standards-driven debut that was produced by her father-in-law, famed jazz guitarist Martin Taylor. Based on her formidable talent and casually elegant way with songs like "Cry Me a River," "You'd Be So Nice to Come Home To," and "But Not for Me," it's clear that the singer could have emerged much sooner than she has. But her background is fascinating, from singing in the school choir to becoming one of the first female mechanical engineers in Scotland to acting, doing voice-overs, to working as an entertainment lawyer. All of that life experience adds gravitas to the often heartbreaking emotion she brings to these 13 songs, whose restrained arrangements allow her smoky voice to stand out and feature Martin Taylor's breezy guitar harmony lines, and his son James Taylor on drums and brushes. Though contemplative ballads seem to be her forte, Burns shows spirited range on pieces like "By Myself" and "Too Good to Be True," which find her jaunting over much brisker rhythms. This disc plays like an infectious bug that should create a cool epidemic among jazz listeners with great taste as the 2000s progress. ~Jonathan Widran

Kissing Bug

---

Ignaz Dinné, Ron Carter - The Next Level

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 53:10
Size: 122,0 MB
Art: Front

(7:34)  1. The Next Level
(6:13)  2. Think Again
(4:22)  3. Three's a Crowd
(6:17)  4. Petes Place
(6:22)  5. Ask Me Now
(4:51)  6. I'll Be Seeing You
(6:59)  7. Pannonica
(5:40)  8. The Twisting Path
(4:48)  9. Come Sunday

The year 2004 marked the anniversary of the series, Jazz Thing Next Generation“, and Ignaz Dinné was the first instrumentalist of the series following two vocalists. His debut triggered unrestricted enthusiasm among listeners and the media: Dinné plays with composure and serenity, which you otherwise are only accustomed to hear from older players. Every tone is played consciously, no words too many are said. Great!“ (FonoForum, highest rating)

Ignaz Dinné impresses with his breathing power and his very own sound, which never just sounds smooth, but instead spreads productive unease.“ (Rolf Thomas, Jazzthetik)

“A great talent is making his way there!” (stereoplay)

Now Ignaz Dinné is moving up to the next level. Still in his mid-30s, he is still sufficiently young and fond of discovery to deal with new songs and people with curiosity without prejudices. But at the same time, he has further expanded and solidified the maturity he demonstrated in his debut. This becomes clear in his own compositions, which already sound like standards (e.g., “Pete’s Place”) the first time we hear them, but also in his interpretations of Monk classics, of which there are two on “The Next Level”, certainly also in remembrance of his studies at the Thelonious Monk Institute of Jazz (by the way, as the first European and first saxophonist!). Dinné also relies on the two New Yorkers Pete Rende and Jochen Rueckert on piano and drums in his second CD, a group that has played together well for six years in the meantime. In addition, there is mentor and friend Ron Carter on the bass, who is one of the few living real giants of jazz history. But this is nothing unusual for Dinné; born in Bremen in 1971 as son of the known trombonist Ed Kröger, the naturally talented alto saxophonist studied under and played with Herbie Hancock, Wayne Shorter, Jackie McLean, Jimmy Heath, Curtis Fuller and many others. They all predict a great career for him, because he is rooted with convincing naturalness in the tradition of (modern) jazz and he has already achieved a lot at a young age, which many only succeed in doing (or don’t succeed) much later: an unmistakable sound, musical expression that cannot be copied, and aloof but captivating aesthetics. http://www.doublemoon.de/en/cddetails/dmchr71067.shtml

Personnel:  Alto Saxophone – Ignaz Dinné;  Bass – Ron Carter;  Drums – Jochen Rückert;  Piano – Pete Rende

The Next Level

---

Bonnie Bramlett - I'm Still The Same

Styles: Jazz, Vocal
Year: 2002
File: MP3@320K/s
Time: 46:56
Size: 107,7 MB
Art: Front

(3:40)  1. Hurt
(3:26)  2. What If
(4:59)  3. No Man's Land
(3:56)  4. Made A Believer Out Of Me
(5:55)  5. Superstar
(4:22)  6. Give It Time
(4:41)  7. Closer To You
(4:31)  8. You Belong To Me
(2:57)  9. Sure Sign Of Something
(4:16) 10. Cry Me A River
(4:07) 11. I'm Still The Same

The most recent memory I have of Bonnie Bramlett dates to the summer of 1971, when Delaney and Bonnie's light-hearted "Never Ending Song of Love" was battling Carol King's "It's Too Late," James Taylor's "You've Got a Friend" and the Stones' "Brown Sugar" for airplay. Since then, Bramlett, whose deep jazz roots include youthful appearances alongside Stan Getz, Maynard Ferguson, Dexter Gordon and Miles Davis, has remained largely in the shadows, jamming occasionally with A-list pals like Eric Clapton and George Harrison, singing back-up for others, raising her kids and stepping briefly into the prime-time arena for a memorable series of guest spots on Roseanne. 

Now, after far too long a wait, Bramlett is back in the spotlight with the archly titled I'm Still the Same (Audium/Koch). While in absentia, her voice has matured magnificently, approximating the sandpaper sass of Elaine Stritch crossed with the self-assured growl of Tina Turner. Several years in the making, this musical autobiography traces four decades of hard knocks and heartache through a clever combination of covers and original compositions. The songs tend, it seems, to work in pairs. Bramlett's "Made a Believer Out of Me," a salty paean to survivalism is, for instance, balanced by an extraordinary version of Leon Russell's "Superstar" that lays bare the lyric's remorseful self-delusion better than any other rendition I've heard. Similarly, Bramlett explores the sweet fear that accompanies a promising but unproven romance in the cautiously cheerful "Give It Time," then abandons herself to the intense fires of desire in "Closer to You." Most satisfying of all is her jumpin' "Sure Sign of Something," a finger-poppin' dissertation on romantic suspicion that clearly owes a debt to "Hit the Road Jack," teamed with a refreshingly cynical treatment of "Cry Me a River" that sidesteps self-pity in favor of stirring self-empowerment. ~ Christopher Loudon  http://jazztimes.com/articles/13353-i-m-still-the-same-bonnie-bramlett

Personnel: Bonnie Bramlett (vocals, background vocals); Reggie Young , Tom Bukovac (guitar); The Nashville String Machine (strings); Mickey Raphael (harmonica); Denis Solee, Bobby Keys (saxophone); Sam Lavine (soprano saxophone); Nashville Horns (horns); John Jonethis (piano); Clayton Ivey, Jon Jarvis, John Jarvis, Jason Webb (keyboards); Glenn Worf, Kevin Grantt, Don Barrett (electric bass); Elijah Holt, Randy Hardison, Eddie Bayers, Vince Barranco, Shannon Forrest (drums); Eric Darken (percussion); Carolyn Corlew (background vocals).

I'm Still The Same

---

Warren Vaché, John Allred Quintet - Jubilation: Live in Bern Switzerland at Marians Jazzroom

Styles: Cornet And Trombone Jazz
Year: 2008
File: MP3@320K/s
Time: 69:21
Size: 159,5 MB
Art: Front

(5:31)  1. Old Devil Moon
(7:48)  2. They Can't Take That Away From Me
(6:48)  3. Song For My Father
(6:25)  4. My One and Only Love
(8:08)  5. Change Partners
(7:40)  6. Strollin'
(4:14)  7. Sweet Hunk O' Trash
(7:01)  8. Jubilation
(6:34)  9. Strike Up the Band
(6:02) 10. Caravan
(3:05) 11. We'll Be Together Again

Warren Vache is one of just a few active cornet players, though he proves to be a lot more wide-ranging in his choice of songs than the late great Ruby Braff (while also possessing a greater sense of humor). Having studied with Pee Wee Erwin, Vache gained early experience playing with Benny Goodman, Vic Dickenson and Bob Wilber. He has recorded over three dozen albums as a leader and is a regular on the jazz party circuit. These 2007 performances at the renowned Marians Jazzroom in Bern, Switzerland pair the cornetist with trombonist John Allred, a jazz party favorite who has had surprisingly few chances to record as a leader. Rounding out the group is the Manhattan favorite Tardo Hammer on piano, Australian bassist Nicki Parrott (another jazz party regular) and drummer Leroy Williams. In spite of his reputation as a mainstream performer with an emphasis on swing and standards, Vache mixes in quite a bit more. The breezy setting of Horace Silver's "Song For My Father" showcases Allred rather well, while the sauntering pace of Silver's "Strollin'" features tight harmony by the two horn players. 

Vache and Parrott enjoy a playful vocal duet of James P. Johnson's obscure "Sweet Hunk O' Trash," with the leader answering Parrott's vocals with hilarious spoken commentary until they switch roles. Of course, they are on the money in their interpretations of standards, especially on the sparkling "Strike Up the Band" and the remarkably subtle treatment of "Caravan." ~ Ken Dryden  http://www.allaboutjazz.com/jubilation-live-in-bern-switzerland-at-marians-jazzroom-warren-vache-arbors-records-review-by-ken-dryden.php
 

Personnel: Warren Vache: cornet, vocal (7, 11); John Allred: trombone; Tardo Hammer: piano; Nicki Parrott: bass, vocal (7); Leroy Williams: drums.

Jubilation:  Live in Bern Switzerland at Marians Jazzroom

---