Conrad Herwig - Sketches Of Spain Y Mas: The Latin Side Of Miles Davis

Styles: Trombone Jazz
Year: 2003
File: MP3@320K/s
Time: 50:20
Size: 116,3 MB
Art: Front

(13:04)  1. Solar
( 7:51)  2. Seven Steps To Heaven
(24:58)  3. Sketches Of Spain
( 4:25)  4. Petits Machins

Conrad Herwig's nonet explores the Latin side of jazz, and his band mines the fun (party) side as well. The Afro-Cuban/Afro-Caribbean component that makes up the art we call jazz has always been the party side. Following up on the trombonist's recordings Another Kind Of Blue: The Latin Side of Miles Davis (2005), The Latin Side Of John Coltrane (1996) and Que Viva Coltrane (2004) is this live session recorded at the Blue Note jazz club in New York 2003. The centerpiece is the nearly 25-minute title track, the infamous collaboration between Miles Davis and Gil Evans. The trombonist Herwig and his co-leader, trumpeter Brian Lynch, welcome guests Paquito D'Rivera and Dave Valentine to this furious and entertaining date. The session opens with two spirited tracks, "Solar and "Seven Steps To Heaven. These tracks are nearly perfect vehicles for a Latin touch. Herwig 's playing was inspired with this sound after stints in the bands of Eddie Palmieri, Mario Bauza and Dizzy Gillespie. Application of the clave to Miles might not be your first thought, but the overtly danceable "Solar honors not only Davis' composition, but also the nightclubs where it was originally played. The nonet stretches out a bit more on "Sketches Of Spain. D'Rivera's clarinet opens the account here, signaling the others to follow with some extraordinary playing. 

Then it's Herwig's turn to solo. He plays his trombone with all the control you would expect from a trumpeter, ending his solo with nifty multiphonic playing. Then, boom, we are off again with Richie Flores' percussion and congas. The piece stretches into Lynch's muted trumpet solo, which bridges into a bit of a Albert Ayler-like march! And back again with the luscious work of D'Rivera, this time on alto saxophone. The disc ends with "Petits Machins, from Filles de Kilimanjaro, a percussion-filled eruption of joy and energy. If you have to choose sides, there is no better one the the Latin side. ~ Mark Corroto  http://www.allaboutjazz.com/sketches-of-spain-y-mas-conrad-herwig-half-note-records-review-by-mark-corroto.php

Personnel: Conrad Herwig: trombone;  Brian Lynch: trumpet;  Paquito D’Rivera; alto saxophone, clarinet;  Dave Valentin: Flute;  Mario Rivera: baritone saxophone;  Edsel Gomez: Piano;  John Benitez:: bass;  Robby Ameen: drums;  Richie Flores: congas, percussion.

Sketches Of Spain Y Mas 

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Chris Barber - Stardust

Styles: Trombone Jazz
Year: 1988
File: MP3@320K/s
Time: 55:18
Size: 127,8 MB
Art: Front

(7:59)  1. The Man I Love
(4:37)  2. Stardust
(4:35)  3. All Of Me
(6:06)  4. On The Sunny Side Of The Street
(5:40)  5. Bei mir bist du schoen
(4:35)  6. St. Louis Blues
(3:39)  7. Georgia On My Mind
(4:22)  8. After You've Gone
(6:36)  9. Over The Rainbow
(7:06) 10. Lover Come Back To Me

Barber/Ball/Bilk are a British traditional jazz trio comprised of trombonist Chris Barber, trumpeter Kenny Ball, and clarinetist Acker Bilk, whose individual recordings were compiled from time to time on joint best-of collections such as At the Jazz Band Ball (1994) and Boaters Bowlers & Bowties (2009). The recordings of Barber (born on April 17, 1930, in Welwyn Garden City, Hertfordshire, England), Ball (born on May 22, 1930, in Ilford, Essex, England), and Bilk (born on January 28, 1929, in Pensford, Somerset, England) were first compiled jointly in 1962 on The Best of Ball, Barber & Bilk, which was released in the wake of "Stranger on the Shore." Performed by Mr. Acker Bilk & the Leon Young String Chorale and originally released in October 1961, "Stranger on the Shore" was one of the biggest hits of 1962 in not only the U.K., where it was the best-selling single of the year, but also the U.S., where it topped the Billboard singles chart for a week in May. Even though "Stranger on the Shore" isn't featured on The Best of Ball, Barber & Bilk, which includes songs by Mr. Acker Bilk & His Paramount Jazz Band, Kenny Ball & His Jazzmen, and Chris Barber & His Jazz Band, the song's popularity, along with that of the British traditional jazz movement, propelled the compilation to the top of the U.K. albums chart in September 1962. 

From time to time over the years, the recordings of Barber, Ball, and Bilk were likewise compiled jointly. At the Jazz Band Ball (1994) is a particularly notable compilation of 1962 recordings drawn from the BBC Archives. In addition, Boaters Bowlers & Bowties (2009) is notable for its double-disc length as well as for its inclusion of "Stranger on the Shore." ~ Jason Birchmeier  http://www.allmusic.com/artist/chris-barber-mn0000105761/biography

Personnel:  banjo, guitar - Johnny McCallum;  bass – Vic Pitt;  drums – Norman Emberson;  guitar – John Slaughter;  alto saxophone, clarinet, harmonica – Ian Wheeler;  alto & tenor saxophone, clarinet, clarinet – John Crocker;  trombone – Chris Barber;  trumpet – Pat Halcox

Stardust

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Cæcilie Norby - Arabesque

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 61:24
Size: 142,1 MB
Art: Front

(4:07)  1. The Dead Princess
(4:28)  2. Wholly Earth
(3:58)  3. No Air
(4:17)  4. No Phrase
(3:35)  5. Bei Mir Bist Du Schoen
(5:29)  6. The Tears Of Billie Blue
(3:40)  7. Women Of Santiago
(4:40)  8. Pavane Opus 50
(3:59)  9. Schenerazade
(3:46) 10. I Will Say Goodbye
(4:22) 11. Simple Theme
(3:33) 12. Hvirvelvinden
(4:36) 13. Forever You
(3:50) 14. Nocturne
(2:59) 15. How Oft

Arabesque is an edgy, moody collection of songs to thrill the musical iconoclast. Classical purists might run for the hills but Danish jazz singer Cæcilie Norby has come up with some extraordinary settings that shed new light on familiar melodies by Rimsky Korsakov, Satie and Debussy, boldly applying her own astringent lyrical interpretations of the stories behind them.The result is an impressionistic aural feast, punctuated by a burst of funky swing (“Bei mir bist du schoen”), a couple of Michel Legrand tracks and an inspirational take on Abbey Lincoln’s “Wholly Earth”. In short, Norby, who has been a pioneer of modern Nordic music, straddling the choppy territory between jazz and pop with her refusal to be categorised, has sharpened her maverick credentials and come up with an audacious concept. Just when you think you’ve pinned it down, the musical influence on each track shifts into new territory.“The Dead Princess” takes Ravel’s haunting theme and turns it into an exploration of the character of the composer’s benefactress, Princess Winnaretta de Polignac. His “Pavane”, so evocative in any setting, is transformed into a brooding meditation on the power of music to arouse memories and sensations.

Norby isn’t the first musician tempted to take liberties with Rimsky Korsakov’s “Scheherazade” prog rock band Renaissance built an entire album around it in the 1970s but she treats it with great respect, her Arabian Nights-inspired lyrics swirling among the excellent accompaniment of musicians including pianist Katrine Gislinge, co-producer Lars Danielsson (on bass, cello and organ).The percussion of Anders Engen and Xavier Devandre-Navarre is a crucial ingredient of Arabesque, fluid and driven, providing a great counterpoint to the fascinating texture of Norby’s voice. There is more than a hint of Berlin cabaret in her timbre at times, comparisons with Ute Lemper are valid but her phrasing is always contemplative and modern. 

Norby is more about the inner monologue than playing to the gallery. Other highlights include “The Tears of Billie Blue”, a shimmering interpretation of Debussy’s “Claire de Lune”, and “No Air”, which turns Satie’s Gymnopédie into sultry, delicate soliloquy. There is also a Danish version of Legrand’s “Windmills of Your Mind” (“Hvirvelvinden”) and a bonus track, “How Oft”, a tribute to the singer’s father, Erik, who composed it. An absorbing landscape of an album. https://cry-me-a-torch-song.com/2011/05/10/album-review-caecilie-norby-arabesque/

Arabesque

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Branford Marsalis - Eternal

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 73:53
Size: 169,4 MB
Art: Front

( 8:55)  1. The Ruby and the Pearl
( 7:53)  2. Reika's Loss
(12:43)  3. Gloomy Sunday
( 9:05)  4. The Lonely Swan
( 8:02)  5. Dinner for One Please, James
( 4:16)  6. Muldoon
(17:46)  7. Eternal
( 5:09)  8. Body and Soul

When you hear that an artist is doing a ballad record, the first thing that comes to mind is "accessible product, commercial album for the masses." And, truth be told, some records seem to fit that description perfectly Michael Brecker's Nearness of You: The Ballad Book , for example, sported an ace team of players but was ultimately unsatisfying featherweight music best suited as background dinner fare. This year, however, has seen two ballad albums with loftier ambitions: Joe Lovano's I'm All for You managed to be accessible without sacrificing any musical commitment; and now, saxophonist Branford Marsalis' Eternal , which may be the weightiest, most significant ballad record to come out in years. Even when the quartet, featuring pianist Joey Calderazzo, bassist Eric Revis and drummer Jeff "Tain" Watts, tackles more traditional fare like "Dinner for One Please, James," the tender ballad retains a substantive feel that, while completely accessible, reveals many layers on repeated listens. Watts, normally thought of as a powerhouse drummer, is outstanding in his pure simplicity, with brushwork that dovetails perfectly with Revis' equally modest playing. And yet, while this album is for the most part somewhat restrained, it is still imbued with deep feeling and rich subtext. Calderazzo, a player with more of a reputation as a post-Tyner burner, displays a subtlety and lyrical depth that, for all its austerity, is filled with passion.

As much as the album is about poignancy and a certain romantic sense, there is always the feeling that there is something more substantive lying just beneath the surface. Revis' "Muldoon," a duet between Calderazzo and Marsalis, is a rubato tone poem that conjures images of darker loss and brighter redemption. Marsalis' lush tone seems to go deep inside the tune, being more about finding the inner essence of the piece as opposed to merely contriving clever ways to navigate it. 

A characteristic of the whole album is, in fact, how the quartet manages to transcend the simple parameters of the material and instead finds something more basic, more elemental. This is not an unusual goal, but somehow when faced with a programme of material that is so deeply emotional while at times so deceptively simple, Marsalis and the group succeed in finding the place where music becomes the purest representation of feeling. The playing is so inspired and intuitive that one forgets about more conceived musical concerns and, instead, finds oneself in that same moment the musicians are so clearly in. While there is little to compare on a musical basis, somehow the ghost of Coltrane is watching over Eternal , especially on the 17-minute title track that closes the album. There is a spiritualistic sense coupled with a sense of adventure that makes this more than simply a collection of slow tempo pieces. Instead, Eternal goes to that deepest place, the core of human experience and, consequently, may be Marsalis' most fully realized record to date. ~ John Kelman  http://www.allaboutjazz.com/eternal-branford-marsalis-marsalis-music-review-by-john-kelman.php

Personnel: Branford Marsalis (saxophones), Joey Calderazzo (piano), Eric Revis (bass), Jeff "Tain" Watts (drums)

Eternal

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Alan Broadbent - Over The Fence

Styles: Piano Jazz

Year: 1990

File: MP3@320K/s

Time: 68:39

Size: 157,7 MB

Art: Front

(7:07)  1. Adam's Apple

(8:08)  2. How Deep Is The Ocean

(5:57)  3. A Night In Tunisia

(5:11)  4. Heart's Desire

(6:52)  5. Waiting For Charlie

(4:33)  6. Blue Daniel

(6:27)  7. Ablution

(8:08)  8. What Is there To Say

(6:33)  9. Better Days

(5:47) 10. Laura

(3:52) 11. Over The Fence

Alan Broadbent was born in Auckland, New Zealand and in 1966, at the age of 19, received a Downbeat Magazine scholarship to attend Berklee College of Music in Boston. In 1969 he was asked to join Woody Herman's band as his pianist and arranger for 3 years. In 1972 he settled in Los Angeles, beginning a musical relationship with the legendary singer Irene Kral (no relation to Diana Krall). Soon he was also invited into the studio scene as a pianist for the great Nelson Riddle, David Rose and Johnny Mandel. In the early 90s he was asked to be a part of Natalie Cole's famous "Unforgettable" cd, at which time he toured as her pianist and, a little while later, as her conductor. At this time he wrote an orchestral arrangement for her second video with her dad, "When I Fall In Love", which won him his first Grammy for "best orchestral arrangement accompanying a vocal".

Shortly after, he became a member of Charlie Haden's Quartet West, touring the festivals of Europe, UK and the USA. It was while with this group that he won his second Grammy, an orchestral accompaniment written for Shirley Horn of Leonard Bernstein's "Lonely Town". As a soloist and with his jazz trio, Broadbent has been nominated for Grammys twice for best instrumental performance, in the company of such artists as Herbie Hancock, Sonny Rollins and Keith Jarrett. In 2007 he was awarded the New Zealand Order of Merit, an honor he holds in high regard. Broadbent is Diana Krall's conductor for her occasional orchestra concerts and is the conductor on her "Live in Paris" DVD. Recently he has been the arranger on Glenn Frey's cd with strings, "After Hours", and wrote six string arrangements for Sir Paul McCartney's "Kisses On The Bottom" with the London Symphony. He has just returned from solo piano concerts in the UK, Poland and France. It has been his lifelong goal, through his orchestral arrangements and jazz improvisations, to discover, in popular music and standard songs, deeper feelings of communication and love.  https://www.alanbroadbent.com/biography.php

Personnel:  Alan Broadbent (piano);  Andy Brown (bass); Frank Gibson (drums).

Over The Fence

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Miranda Sage - On This Day

Styles: Vocal Jazz
Year: 2016
File: MP3@320K/s
Time: 52:23
Size: 123,0 MB
Art: Front

(3:40)  1. I Remember You
(3:55)  2. Return to Isfahan
(3:50)  3. Dreamer
(4:08)  4. Don't Fight the Future
(5:02)  5. Fat Cat
(6:45)  6. On This Day
(4:37)  7. The Way You Look Tonight
(4:33)  8. Our Love Is Here to Stay
(4:57)  9. All or Nothing at All
(5:01) 10. The Shadow of Your Smile
(5:50) 11. A Time for Love

Atmospheric sophisticated vocal jazz including swing, latin, ballads, blues and originals with masterful arrangements and nine of Canada's finest musicians. Wow!

Miranda and I have done five CDs together this one being the fifth but in many ways, for me at least it's the first. All of our previous collaborations have been in what to me were unfamiliar surroundings. Fine musicians but some of whom I was playing with for the first time and studios and pianos with which I was unfamiliar made it a somewhat less than ideal recording situation. This project was done in my very favourite studio with a beautiful Steinway and the greatest engineer I've ever known and all the musicians were old friends. What could possibly go wrong? The repertoire includes two great originals written by Miranda as well as her lyrics to Isfahan (Duke Ellington/Billy Strayhorn) and to one of my tunes. Most of the band charts were arrangements I'd written through the years for my ensemble at Humber College.This CD puts Miranda in a whole new and wonderful world and I've never heard her sound better. She takes command of every tune and works perfectly with the musicians and the arrangements.The band is loaded with some of Canada's greatest musicians and we are treated to some amazing solos from Phil Dwyer on tenor, Kevin Turcotte on trumpet and Reg Schwager on guitar.I must say thank you to Chad Irschick, whose love of music and unbelievable attention to details were a huge factor in the success of the whole venture.I think this is a beautiful CD and I hope you all enjoy our music.  Don Thompson OC (Order of Canada)  https://www.cdbaby.com/cd/mirandasage3

On This Day

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Jerry Lee Lewis - The Session

Styles: Rock & Roll
Year: 1973
File: MP3@320K/s
Time: 76:07
Size: 206,7 MB
Art: Front

(3:38)  1. Drinking Wine Spo-Dee-O-Dee
(4:37)  2. Music To The Man
(3:59)  3. Baby What You Want Me To Do
(2:37)  4. Bad Moon Rising
(3:54)  5. Sea Cruise
(4:40)  6. Jukebox
(5:23)  7. No Headstone On My Grave
(3:44)  8. Big Boss Man
(2:23)  9. Pledging My Love
(4:03) 10. Memphis
(5:49) 11. Trouble In Mind
(3:30) 12. Johnny B. Goode
(3:28) 13. High School Confidential
(4:14) 14. Early Morning Rain
(4:00) 15. Whole Lot Of Shakin' Goin' On
(3:38) 16. Sixty Minute Man
(3:29) 17. Movin' On Down The Line
(5:00) 18. What'd I Say
(3:52) 19. Rock & Roll Medley

The Session was done in London in 1972, at the tail-end of the vogue for recording '50s rock & roll and blues stars with backup by a younger generation of British rock musicians. Although it wasn't a highlight of Lewis' career, it was actually, as hard as it might be to believe, his only album to reach the Top 40, also yielding a single that stopped just short of the Top 40 in his remake of Stick McGhee's "Drinkin' Wine, Spo-Dee-O-Dee." It wasn't exactly Eric Clapton, Ringo Starr, and members of the Rolling Stones backing Lewis, it was more a rotating assortment of rockers a little shy of the U.K. A-team, including Rory Gallagher, Peter Frampton, Albert Lee, Alvin Lee, Kenney Jones, Gary Wright, Matthew Fisher of Procol Harum, and Klaus Voormann. 

As for the record itself, which was a return to his rock & roll roots after a few years on which he'd concentrated on country music, it wasn't bad, lacking only when directly compared to his early classic rock & roll recordings. Lewis' singing and piano playing are undiminished, and the band backs him competently on a program dominated by '50s oldies remakes. There's also some more contemporary material, though, including Creedence Clearwater Revival's "Bad Moon Rising" and a country-rockish take on Gordon Lightfoot's "Early Morning Rain" that might be the album's most interesting cut, if only because it doesn't sound as much like he's just retreading old glories. 

The problem is that if you're familiar with Lewis' Sun era, this can't help but come off as rather unnecessary, and inferior to his older rock & roll recordings, particularly on the inevitable remake of "Whole Lot of Shakin' Goin' On." ~ Richie Unterberger  http://www.allmusic.com/album/the-session-mw0000650415

Personnel includes: Jerry Lee Lewis (vocal, piano, percussion); Kenneth Lovelace (guitar, violin); Ray Smith (guitar, percussion); Peter Frampton, Rory Gallagher, Albert Lee, Alvin Lee, Mickey Jones, Delaney Bramlett, Gary Taylor (guitar); Tony Ashton (piano, organ, percussion); Matthew Fisher (organ, percussion); Andy Bown, Gary Wright (organ), Chas Hodges, Klaus Voormann (bass), Kenny Jones, Pete Gavin, Mick Kellie (drums, percussion), Brian Parrish, Gary Taylor, Tony Colton, Brian Parrish, Steve Rowland (percussion), Casey Synge, Dari Lallou, Karen Friedman (background vocals).

The Session

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Conrad Herwig - Another Kind Of Blue: The Latin Side Of Miles Davis

Styles: Trombone Jazz

Year: 2003

File: MP3@320K/s

Time: 54:16

Size: 125,1 MB

Art: Front

( 9:44)  1. So What

(10:29)  2. Freddie Freeloader

( 8:10)  3. Blue In Green

( 8:17)  4. All Blues

( 9:51)  5. Flamenco Sketches

( 7:42)  6. Petits Machins

Trombonist Conrad Herwig, who had previously recorded The Latin Side of John Coltrane, is at it again. Another Kind of Blue has versions of the five songs from Miles Davis' Kind of Blue ("So What," "Freddie Freeloader," "Blue in Green," "All Blues," and "Flamenco Sketches") plus "Petits Machins" performed by a Latin jazz nonet. The results are quite enjoyable and, with the exception of the repertoire and a couple orchestrated sections for the ensemble (the introduction of "So What" by Bill Evans and Paul Chambers, and Davis' trumpet solo on "Freddie Freeloader"), the music has little connection to the original Kind of Blue with Miles Davis, John Coltrane, and Cannonball Adderley. Instead, the transformation serves as a good excuse for the all-star group to romp and come up with fresh ideas. Herwig, trumpeter Brian Lynch, baritonist Mario Rivera, and flutist Dave Valentin have their moments, but Paquito D'Rivera on alto and clarinet constantly steals solo honors; he is too exciting to be denied. The horns are inspired by a blazing rhythm section consisting of pianist Edsel Gomez, bassist John Benitiz, drummer Robby Ameen, and percussionist Richie Flores. It is particularly interesting hearing such unlikely material as "Blue in Green" and "Flamenco Sketches" turned into Afro-Cuban jazz. Another Kind of Blue is quite successful on its own terms and well worth picking up. ~ Scott Yanow  http://www.allmusic.com/album/another-kind-of-blue-the-latin-side-of-miles-davis-mw0000697110

Personnel: Conrad Herwig (trombone); Paquito D'Rivera (alto saxophone, clarinet); Mario Rivera (baritone saxophone); Brian Lynch (trumpet); Dave valentin (flute); Edsel Gomez (piano); John Benitez (bass); Robby Ameen (drums); Richie Flores (congas, percussion).

Another Kind Of Blue        

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Alan Broadbent - Personal Standards

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 61:59
Size: 142,2 MB
Art: Front

(7:05)  1. Consolation
(6:02)  2. Ballad Impromptu
(8:21)  3. The Long Goodbye
(6:09)  4. Everytime I Think Of You
(7:36)  5. Song Of Home
(7:32)  6. North
(6:42)  7. Chris Craft
(6:22)  8. Idyll
(6:09)  9. Uncertain Terms

Since gaining fame as a member of Charlie Haden's excellent Quartet West, Alan Broadbent has seen his own catalog rise in stature. A welcome development, since a wider audience should check out the many fine recordings this unique pianist/composer/arranger has made. And in spite of the admission that his highly lyrical bent and soft touch come out of the work of Bill Evans, Red Garland, and Nat "King" Cole, among others, Broadbent is able to produce fresh solo conceptions and plenty of original material of his own. In fact, as the title implies, Personal Standards consists almost entirely of self-penned cuts, save for one by bassist Putter Smith. (This seamless piano trio is rounded out by drummer Joe LaBarbera.) 

Along with material also heard on various Quartet West recordings like "The Long Goodbye" and "Song of Home," the disc features a nice mix of ballads ("Ballad Impromptu"), mid- to up-tempo swingers ("Consolation"), as well as some blues ("Uncertain Terms"). And even though Broadbent favors slow and melancholy numbers, he can still vigorously turn on the technique, especially on the faster numbers here. 

In addition to his solo piano outing for the Maybeck Recital Hall series, Personal Standards offers a great introduction to Broadbent's work. ~ Stephen Cook  http://www.allmusic.com/album/personal-standards-mw0000023166

Personnel:  Alan Broadbent (piano); Putter Smith (bass); Joe LaBarbera (drums).

Personal Standards

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Silje Nergaard - Port Of Call

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 47:09
Size: 115,0 MB
Art: Front

(3:06)  1. Me Oh My
(5:25)  2. Bewitched, Bothered And Bewildered
(3:13)  3. Do Nothing Till You Hear From Me
(4:05)  4. If You Love Somebody
(2:25)  5. What's New
(4:10)  6. The Waltz
(3:41)  7. You're Kind
(3:05)  8. For All We Know
(4:45)  9. Shame On You
(5:20) 10. Every Time We Say Goodbye
(3:14) 11. Dream A Little Dream
(4:35) 12. Don't Explain

Silje Nergaard is an award-winning Norwegian jazz-pop singer/songwriter who peaked in popularity after the turn of the century with the chart-topping albums At First Light (2001) and Nightwatch (2003). Born on June 19, 1966, in Steinkjer, Norway, she cites influences that include Al Jarreau and Joni Mitchell. As a teenager she became something of a national sensation when she joined an impromptu jam session at the 1983 Molde Internasjonal Jazz Festival. In 1984 she made her solo recording debut with a 7" single, "One of These Mornings"/"My Funny Valentine," released on PolyGram. Several years later she signed a recording deal with Lifetime Records and made her full-length album debut with Tell Me Where You're Going (1990), the first of three English-language jazz-pop albums produced and co-written by Richard Niles. 

The highlights of these early albums, the others being Silje (1991) and Cow on the Highway (1995), were later compiled on the best-of collection The Lifetime Years (2005). After parting ways with Lifetime Records, Nergaard released a couple Norwegian-language albums on the label Kirkelig Kulturverksted: Brevet (1995) and Hjemmefra (1996). Upon signing a major-label recording deal with Universal Music, Nergaard broke through to mainstream success in 2000 with Port of Call, a full-length English-language effort comprised largely of cover material. Port of Call was a Top Ten hit on the Norwegian albums chart and set the stage for her chart-topping follow-up albums, At First Light (2001) and Nightwatch (2003). Like Port of Call, these two albums feature a quartet comprised of Tord Gustavsen (piano, Rhodes), Harald Johnsen (acoustic bass), and Jarle Vespestad (drums), in addition to Nergaard (vocals). Almost entirely self-composed, Nightwatch was especially successful, earning Nergaard a Spellemannprisen award for Musician of the Year. In the wake of this success, Be Still My Heart: The Essential (2005), a best-of collection also featuring some new material, was released, along with the aforementioned Lifetime compilation. Subsequent albums Darkness out of Blue (2007) and A Thousand True Stories (2009), both Top Five hits, feature an expanded band and arrangements by Vince Mendoza. ~ Jason Birchmeier  http://www.allmusic.com/artist/silje-nergaard-mn0000329649/biography

Port Of Call

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Brian Culbertson - After Hours

Styles:  Jazz Funk, Smooth Jazz
Year: 1996
File: MP3@320K/s
Time: 54:47
Size: 127,1 MB
Art: Front

(5:27)  1. Take Your Time
(5:16)  2. Close To You
(4:17)  3. After Hours
(4:25)  4. Shadow's Dance
(1:02)  5. Intro To Inside Pocket
(4:12)  6. Inside Pocket
(5:41)  7. And The Night Comes
(2:27)  8. Going Home
(5:33)  9. Daybreak
(1:24) 10. Prelude To You're Not Alone
(3:30) 11. You're Not Alone
(4:59) 12. After Hours (Extended Solo Mix)
(6:28) 13. Sonic Dreams

Even though Brian Culbertson might be categorized as jazz lite, his music has enough "oomph" to keep you interested. The talented composer, arranger, keyboardist, and trombonist displayed a talent beyond his years at an early age, and credits his dad with helping him develop an ear for the type of music he makes. His father, Jim Culbertson, a respected high school jazz band director and trumpeter, cultivated a love of sanguine sounds in the young Brian, who eagerly listened to anything his dad put on the stereo. Their Decatur, Illinois, home would be alive with the recorded sounds of Maynard Ferguson, Buddy Rich, the Brecker Brothers, and David Sanborn. Growing up, Culbertson also listened to '70s R&B/pop/funk bands like Blood, Sweat & Tears, Tower of Power, and Earth, Wind & Fire. He began his musical training at the age of eight with piano lessons; at nine he moved to drums, at ten trombone, and at 12 bass. Bored with classical recital pieces, he began composing in junior high. By his freshman year in high school, he was experimenting with the then-new Yamaha DX-7 synthesizer and an old four-track recorder in the basement of his parents' home. His dedication earned him six individual and five group Down Beat student awards. During his high school years, he started getting into MIDI sequencing and synthesizers. He couldn't find players who were able to play his songs on the level he wanted, as most of his peers were into heavy metal, so Culbertson, who cites pop producer/songwriter David Foster (Earth, Wind & Fire's "After the Love Is Gone") as one of his strongest influences, learned how to play all the parts himself. After graduation, Culbertson headed to Chicago to begin studies in the music program at DePaul University. 

On campus, he began to run into high-level musicians and started playing in a band. A family friend helped Culbertson get a deal with Mesa/Blue Moon in 1994. In the bedroom of the apartment he shared with three college buddies, Culbertson single-handedly recorded his debut album, Long Night Out. The album spent ten consecutive weeks in the Top Five of the adult contemporary charts. On his follow-up album, Modern Life, Culbertson eschewed the one-man band approach in favor of a live band made up of some of the best musicians in Chicago, plus stellar saxophonist Gerald Albright. He's since put out several other albums, including After Hours (1995), Secrets (1997), and Somethin' Bout Love (1999). Culbertson's productions include albums by Bob Mamet and Steve Cole. Having gotten into composing advertising jingles, Culbertson set his sights on soundtracks. In 2001 the pianist (who could play the trombone, trumpet, and percussion as well) released Nice & Slow, followed by Come on Up in 2003. Two years later he issued It's on Tonight, and in 2006 Soulful Christmas, a collection of holiday favorites as well as an original. In 2008 Culbertson released Bringing Back the Funk, an acclaimed album that is credited with bringing new life to the urban jazz genre. It featured a sizable list of collaborators including Bootsy Collins, Larry Graham, Ray Parker, Jr., and David T. Walker, just to name a few. He followed it with a live album in 2009 and XII, a return to the studio, in 2010. 

In June of 2012, Culbertson released Dreams, his 13th album, featuring a host of all-star contemporary jazz and R&B session players and vocalists. Later that year he set about realizing a dream project. Now an independent artist, Culbertson had long desired to revisit the music from his 1994 debut offering, A Long Night Out, which was initially cut in his apartment on a very limited budget. He played most of the instruments himself but also enlisted a small backing group. In 2013 he re-recorded the same tracks, with a large all-star lineup that included Nathan East, Russ Freeman, Steve Lukather, and Candy Dulfer, to name a few, plus a 33-piece orchestra. Entitled Another Long Night Out, it was issued on his own BCM label in February of 2014. ~ Ed Hogan  https://itunes.apple.com/us/artist/brian-culbertson/id157941#fullText

Personnel: Brian Culbertson (arranger, vocals, trombone, piano, organ, keyboards, cymbals, percussion, programming); Cliff Colnot (conductor, arranger); Michelle Buss (vocals); Steve Finckle (soprano & tenor saxophones); Mark Colby (soprano saxophone); Dave Hutten (alto & tenor saxophones, programming); Jim Culbertson (trumpet); Dale Clevenger (French horn); Judith Kulb (English horn); Peter Labella (concertmaster); Pauli Ewing, Fox Fehling, Teresa Fream, Thomas Hall, Mihaela Ionescu, Blair Milton, Ann Palen, Paul Phillips, Ronald Satkiewicz, Rika Seko, Jennie Wagner (violin); Virginia Barron, Li-Kuo Chang, Marlise Klein, Robert Swan (viola); Lawrence Brown, Richard Hirschl, Judy Stone (cello); Harry Mura (acoustic & electric guitars, guitar); Craig Bauer (acoustic guitar); Gregory Sarchet, Collins Trier, Mike Manson (bass); Tom Hipskind (drums, hi-hat, cymbals) Todd Sucherman (drums); Steve Reid (percussion); Bob Bowker, Jeff Morrow (background vocals).

After Hours

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Lou Donaldson - Midnight Creeper

Styles: Saxophone Jazz
Year: 1968
File: MP3@320K/s
Time: 36:11
Size: 83,0 MB
Art: Front

(6:32)  1. Midnight Creeper
(7:46)  2. Love Power
(5:37)  3. Elizabeth
(9:44)  4. Bag of Jawels
(6:30)  5. Dapper Dan

As he delved deeper into commercial soul-jazz and jazz-funk, Lou Donaldson became better at it. While lacking the bite of his hard bop improvisations or the hard-swinging funk of Alligator Bogaloo, Midnight Creeper succeeds where its predecessor, Mr. Shing-A-Ling failed: it offers a thoroughly enjoyable set of grooving, funky soul-jazz. The five songs including two originals by Donaldson and one each by Lonnie Smith (who also plays organ on the record), Teddy Vann, and Harold Ousley aren't particularly distinguished, but the vibe is important, not the material. And the band Donaldson, Smith, trumpeter Blue Mitchell, guitarist George Benson, and drummer Leo Morris strikes the right note, turning in a fluid, friendly collection of bluesy funk vamps. Donaldson could frequently sound stilted on his commercial soul-jazz dates, but that's not the case with Midnight Creeper. He rarely was quite as loose on his late-'60s/early-'70s records as he is here, and that's what makes Midnight Creeper a keeper. ~ Stephen Thomas Erlewine  http://www.allmusic.com/album/the-midnight-creeper-mw0000063286

Personnel:  Lou Donaldson (alto saxophone), Blue Mitchell (trumpet), George Benson (guitar), Lonnie Smith (organ), Idris Muhammad (drums).

Midnight Creeper

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Lola Haag - The Sarah Vaughan Songbook

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 50:34
Size: 117,5 MB
Art: Front

(3:56)  1. How Long Has This Been Going On?
(4:51)  2. It Might As Well Be Spring
(2:35)  3. Whatever Lola Wants
(3:40)  4. Don't Blame Me
(2:44)  5. Watch What Happens
(2:47)  6. Misty
(3:33)  7. Lullaby Of Birdland
(5:51)  8. Spring Can Really Hang You Up The Most
(3:59)  9. East Of The Sun (And West Of The Moon)
(3:10) 10. Moonlight In Vermont
(3:14) 11. Can't Get Out Of This Mood
(3:08) 12. All The Things You Are
(3:21) 13. Spring Will Be A Little Late This Year
(3:39) 14. Poor Butterfly

Welcome, baby. Can't you feel your stress dissolving away already? Lola's romantic jazz stimulates the intellect as well as the senses. Her music provides the perfect backdrop for romance or relaxing. "Her voice is like a rubdown with a velvet glove". So, you're an incurable romantic? Well, if you are, you're in good company. Looking for the perfect cuddling music to play when you curl up in a lap blanket by the fireplace? Or to play in your car when you're on your way home from a stressful day at work? Well, you've come to the right place. Lola has been making the rounds at parties too, providing slow dance music whenever her CD is popped into the player. So, add a little extra romance to your life. It's easy. The song, Whatever Lola Wants, Lola Gets whispers a provocative invitation, "Give in, Give in, Give in."

Thus quoth Sarah: Lola's favorite quote by Sarah Vaughan: "There are notes between those notes, you know." Lola's second favorite quote by Sarah Vaughan (from 1957): "I dig Doris Day."

Some of Lola's CD liner notes: This album is my tribute to the great vocalist, Sarah Vaughan, or as she was called by her musician friends, Sassy. Although we have kept the flavor of the Sarah Vaughan arrangements, I want to clearly state that I am NOT vocally anything like Sarah Vaughan! And I don't try to duplicate her interpretation. I may be crazy but I'm not stupid! Instead, I try to bring something of myself to the raw material of her work, the songs she chose to sing. Yes, the AMAZING songs. I have a ball with "her" songs. Throughout her entire career, Sarah made her vocals seem so easy. Perhaps because of the wealth of her talent, some of it was easy for her. What wasn't easy, I'm sure, was to consistantly give stellar performances and to remain creative for several decades. I have always admired her stamina and her willingness to give to her audiences what they have come to expect from her... her best, which was amazingly good. I hope this album prompts the listener to pull out those Sarah Vaughan compilations and re-experience the amazing gifts that Sarah Vaughan has given to the jazz world... her soul and her wonderful voice. http://www.cdbaby.com/cd/lolahaag

Personnel: Harry Allen (tenor saxophone); Spanky Davis (trumpet); Hod O'Brien (piano); Jackie Williams (drums); Lola Haag (Vocal).

The Sarah Vaughan Songbook

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Roland Kirk - Gifts And Messages

Styles:  Hard Bop, Avant Garde Jazz
Year: 1964
File: MP3@320K/s
Time: 78:48
Size: 184,3 MB
Art: Front

( 0:17)  1. Ronnie's Intro
(12:07)  2. Bags' Groove
( 2:23)  3. Roland's Intro
( 6:30)  4. It Might As Well Be Spring
( 9:32)  5. (On A) Misty Night
( 5:44)  6. Come Sunday
( 9:47)  7. Avalon
( 6:56)  8. My Ship
(10:01)  9. A Stritch In Time
(12:37) 10. Gifts And Messages
( 2:50) 11. Reeling And Rhyming

This CD has previously unreleased music featuring the remarkable Rahsaan Roland Kirk in 1964 during a London gig at Ronnie Scott's club. Joined by the talented pianist Stan Tracey, bassist Rick Laird and drummer Allan Ganley, Kirk puts on quite a show. He plays conventionally on tenor in spots (particularly during the opening "Bags' Groove") in addition to wailing on three horns at once and showing off his talents on manzello, stritch, flutes and what he called a saxophonium (a saxophone without a mouthpiece). There is a great deal of humor on this set including many song quotes, a wild version of Tadd Dameron's "On a Misty Night" that is worthy of Richie Cole, some wicked laughing and a few short monologues that are both witty and quite insightful. Although Rahsaan Roland Kirk really had to be seen to be fully appreciated (much of what he did was simply impossible), this CD gives one a fine overview of his unique abilities. ~ Scott Yanow  http://www.allmusic.com/album/gifts-and-messages-candid-mw0002022122

Personnel:  Bass – Rick Laird;  Drums – Allan Ganley;  Piano – Stan Tracey;  Tenor Saxophone, Flute, Nose Flute, Siren, Voice, Instruments [Manzello. Stritch, Saxophonium] – Roland Kirk

Gifts And Messages

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Les McCann & Eddie Harris - Swiss Movement

Styles: Piano And Saxophone Jazz

Year: 1969

File: MP3@320K/s

Time: 47:51

Size: 109,7 MB

Art: Front

(8:56)  1. Compared to What

(7:08)  2. Cold Duck Time

(6:15)  3. Kathleen's Theme

(7:34)  4. You Got It in Your Soulness

(9:12)  5. The Generation Gap

(8:43)  6. Kaftan

One of the most popular soul jazz albums of all time, and one of the best, although Harris (and trumpeter Benny Bailey) had never played or rehearsed with the Les McCann Trio before, and indeed wasn't even given the music. Perhaps that's what sparked the spontaneous funk coming through clearly on the tape of this show, recorded at the Montreux Festival in 1969. It's actually much more of a showcase for McCann than Harris, although the tenor saxist's contributions are significant. The sole vocal, a version of Gene McDaniels' "Compared to What," remains McCann's signature tune. [Some reissues add a nine-minute bonus track, "Kaftan."] ~ Richie Unterberger  http://www.allmusic.com/album/swiss-movement-mw0000054231

Personnel: Eddie Harris (vocals, saxophone, tenor saxophone, electric saxophone, trumpet, piano); Les McCann (vocals, piano, keyboards); Benny Bailey (trumpet); Donald Dean (drums).

Swiss Movement

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Artistry Jazz Group - We Like Previn

Styles: Vocal and Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 63:44
Size: 146,6 MB
Art: Front

(3:03)  1. Blues for Georgia
(4:33)  2. I Like Myself
(5:28)  3. Second Chance
(4:16)  4. Like Young
(4:12)  5. Coco
(3:59)  6. Saturday
(4:25)  7. You're Gonna Hear From Me
(4:29)  8. Hi Blondie
(4:36)  9. Far Away Part Of Town
(4:31) 10. The Pleasure Of Your Compagny
(4:04) 11. Theme From Valley Of The Dolls
(4:02) 12. If I Should Find You
(3:43) 13. Why Are You Afraid?
(4:12) 14. More In Love With You
(4:05) 15. Guiding Light

Previn was just 17 when he wrote the opener, "Blues for Georgia." Lundgren's arrangement provides short solo opportunities for himself, guitarist Jacob Fischer and Hans Backenroth on bass, and the number serves as an excellent introduction for what's to come, starting with "I Like Myself" from the 1955 musical It's Always Fair Weather.  Unlike the brilliant and innovative Porter, Previn until he escaped to the world of classical music was very much a Hollywood hack, adapting other people's music and writing scores for a string of undistinguished movies. He penned "A Second Chance" for the 1962 film Two For The Seesaw, summed up on Rotten Tomatoes as "one for the cinematic dustbin." There follows what is still probably Previn's best known jazz composition, "Like Young," with vocalist Vivian Buczek bravely tackling the dated lyrics like a true hep cat. Then comes the number that Previn should be remembered for: his hauntingly lovely "Coco," the title track of the 1969 musical based on the life of French fashion designer Coco Chanel. An adventurous arrangement by Lundgren allows bassist Backenroth to state the theme.

"Saturday" is a 44-bar Previn salute to his first influence, Art Tatum. Like Tatum, in jazz Previn often made the mistake of valuing technique over feeling. There follow a mix of film songs and numbers written by Previn for his jazz trio before we come to "Why Are We Afraid?" written for the movie The Subterraneans, based on a Jack Kerouac novella. Today it's best remembered for appearances by horn players Gerry Mulligan, Art Farmer and Art Pepper, bassist Red Mitchell, drummer Shelly Manne and would you believe? André Previn.  The album concludes with a novelty, Torgil Rosenberg's own composition, "Guiding Light," dedicated to Previn and featuring a scat vocal by Buczek. ~ Chris Mosey  http://www.allaboutjazz.com/jan-lundgren-celebrates-andre-previn-and-cole-porter-by-chris-mosey.php

Personnel: Jan Lundgren: piano; Jacob Fischer: piano; Hans Backenroth: bass; Johan Löfcrantz Ramsay: drums; Vivian Buczek: vocals.

We Like Previn

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Madeline Eastman - Mad About Madeline!

Styles: Vocal Jazz
Year: 1991
File: MP3@320K/s
Time: 49:17
Size: 135,0 MB
Art: Front

(4:43)  1. Cheek To Cheek
(3:16)  2. Wish You Were Here
(3:11)  3. You're The Dangerous Type
(5:44)  4. Freedom Jazz Dance
(5:00)  5. Turn Out The Stars
(3:22)  6. Get Out Of Town
(4:37)  7. Flor De Lis (Upside Down)
(4:13)  8. All Of You
(4:55)  9. Don't Explain
(5:40) 10. Four
(4:32) 11. Never Never Land

Madeline Eastman's second recording would be recommended if only for the "backup" group (altoist Phil Woods, pianist Cedar Walton, bassist Tony Dumas, and Vince Lateano plus a guest vocal by Mark Murphy on Bob Dorough's "You're the Dangerous Type"), but even if the musicians were anonymous this set would be worth checking out. Madeline Eastman is a creative singer with an appealing voice. Most of the tunes are vocal standards, but they also include such offbeat choices as "Freedom Jazz Dance," "Four," and "Never Never Land." Other highlights include fresh renditions of "Cheek to Cheek," "Turn out the Stars," and "All of You." ~ Scott Yanow  http://www.allmusic.com/album/mad-about-madeline!-mw0000116383

Personnel: Madeline Eastman, Mark Murphy (vocals); Phil Woods (saxophone); Cedar Walton (piano); Tony Dumas (bass); Vince Lateano (drums); Michael Spiro (percussion).

Mad About Madeline!

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Larry Coryell - Cedars of Avalon

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 58:17
Size: 135,7 MB
Art: Front

(5:14)  1. Cedars of Avalon
(7:44)  2. Bemsha Swing
(6:34)  3. Fantasy in D
(7:01)  4. Theme for Ermie
(2:37)  5. Limehouse Blues
(6:28)  6. D-Natural Blues
(7:29)  7. What's New
(6:12)  8. Newest Blues
(6:11)  9. It Could Happen to You
(2:43) 10. Shapes

Spanning more genres than most of the guitarists his age, Larry Coryell was there when fusion was making its first appearance. Although largely unacknowledged, Gary Burton’s early RCA sides found Coryell playing with an edgy rock-inflected tone that was just as responsible for a new era in jazz as such commonly cited fusion classics like Miles Davis’ In a Silent Way and Bitches Brew. The guitarist’s own Eleventh House band would also challenge John McLaughlin’s Mahavishnu Orchestra, with the latter getting much of the press at the time. However, most recently its been a mainstream stance which has marked Coryell’s appearance on Joe Fields’ HighNote label, the best of these being the newly issued Cedars of Avalon.

Recorded in full 24-bit splendor by the legendary Rudy Van Gelder, the first thing you’ll notice about this latest offering from Coryell is an almost tube-like warmness to the sound that is the antithesis of modern digital technology. Coryell’s guitar is presented in burnished tones that blend ever so splendidly with pianist Cedar Walton’s crystalline middle and upper registers. Buster Williams’ bass has just enough bottom edge presence to buoy the entire ensemble, but without being a bit muddy. It’s only drummer Billy Drummond who seems to be a bit low in the mix, but that’s only in comparison to his Criss Cross appearances where he’s given such a forward presentation. With a sagacious tune selection, Coryell brings the tempos up and down in similar fashion to building a good live set. His title track and opening homage to Cedar Walton has a nice lilting feel to it and everyone seems to be equally comfortable in navigating its tricky turns. Monk’s “Bemsha Swing” kicks in with a crafty opening vamp, later to be distinguished by Coryell’s use of octaves, the Montgomery inspiration evident again in a rendition of Wes’ “D Natural Blues.” Walton’s own “Fantasy in D” reminds us of the pianist’s value as a composer and “Theme For Ernie” (mistakenly listed as “Ermie” on both the back cover and disc) gives Coryell room to stretch out at a ballad tempo. Two tracks, “Limehouse Blues” and “Shapes,” find Coryell over-dubbing acoustic guitars and Van Gelder’s artfully etched sound works wonders for these mini masterpieces. Two more standards and Walton’s “Newest Blues” round out this most enjoyable mainstream set that might surprise some Coryell fanatics but which will easily please all. ~ C.Andrew Hovan  http://www.allaboutjazz.com/cedars-of-avalon-larry-coryell-review-by-c-andrew-hovan.php

Personnel: Larry Coyell (guitar), Cedar Walton (piano), Buster Williams (bass), Billy Drummond (drums)

Cedars of Avalon

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Martin Taylor - Portraits

Styles: Guitar Jazz
Year: 1995
File: MP3@320K/s
Time: 62:34
Size: 143,8 MB
Art: Front

(3:57)  1. Shiny Stockings
(4:59)  2. Like Someone In Love (Solo)
(3:56)  3. Sweet Lorraine
(4:09)  4. I Got Rhythm
(4:49)  5. Why Did I Choose You?
(5:02)  6. My Funny Valentine
(5:12)  7. Do You Know What It Means ?
(4:30)  8. I Remember Clifford
(3:52)  9. Ol' Man River (Solo)
(4:29) 10. Here, There And Everywhere
(3:45) 11. In A Mellow Tone (Solo)
(4:11) 12. My one and only love
(3:58) 13. Kiko
(5:38) 14. Very Early

Taylor's fifth release for Linn combines solo recordings along with a few duets with Nashville legend Chet Atkins and a pair of overdubbed duets. Taylor's fluid, unaccompanied playing makes him the most obvious heir to the legacy of Joe Pass. All of Martin Taylor's recordings for the Scottish label Linn are strongly recommended. ~ Ken Dryden  http://www.allmusic.com/album/portraits-mw0000080456

Personnel: Martin Taylor, Chet Atkins (guitar).

Portraits

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Earl Hines - Fatha & His Flock On Tour

Size: 101,5 MB
Time: 40:09
File: MP3 @ 320K/s
Released: 1970/2015
Styles: Jazz: Piano Jazz, Vocals
Art: Front

01. I Just Wanna Make Love To You (3:40)
02. Second Balcony Jump (5:08)
03. Passion Flower (2:56)
04. My Heart Stood Still (3:29)
05. I Feel So Smootchy (2:16)
06. All Of Me (2:58)
07. Somebody Loves Me (2:37)
08. One Night In Trinidad (2:44)
09. Cannery Walk (2:49)
10. Things Ain't What They Used To Be (3:01)
11. Yellow Blues Blues (4:17)
12. Easy To Love (4:09)

This somewhat obscure MPS LP features pianist Earl Hines' working band of 1970. Most notable is singer Marva Josie's effective version of "I Just Wanna Make Love To You" that opens the date (although musically, this Chicago electric blues classic is a bit out of place). Josie also pops up on three other songs (including Hines' "Night In Trinidad"), but makes less of an impact on those numbers. Not enough is heard from Haywood Henry (doubling on baritone and clarinet), and the pianist's solos are not as lengthy or explorative as usual. However, there are some bright moments, most notably "Second Balcony Jump" and three solo Hines features. ~by Scott Yanow

Fatha & His Flock On Tour

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