Kevin Stewart - Never Look Back

Size: 140,3 MB
Time: 59:47
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Piano Jazz
Art: Front

01. Moonlight (5:06)
02. Full Steam (3:36)
03. Still Unforgettable (4:33)
04. Never Look Back (3:30)
05. Mom's Lake (3:18)
06. Overjoyed (4:27)
07. The Calm (3:22)
08. Distracted (5:00)
09. Lost Generation (6:00)
10. Never Can Say Goodbye (3:55)
11. Roof Garden (3:49)
12. Downtime (4:29)
13. Timeless Tale (4:12)
14. You Touch My Brain (4:22)

Any info will be welcome.

Never Look Back

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Ruby Braff and Dick Hyman - Play Nice Tunes

Styles: Cornet And Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 64:15
Size: 147,6 MB
Art: Front

(6:11)  1. I Want a Little Girl
(3:27)  2. My Heart Belongs to Daddy
(4:24)  3. Sweet Savannah Sue
(4:36)  4. Why Was I Born
(4:32)  5. Lotus Blossom
(4:29)  6. Joseph! Joseph!
(5:34)  7. Thanks a Million
(4:23)  8. By Myself
(6:09)  9. I Must Have That Man
(4:28) 10. Come Sunday
(3:12) 11. Save It, Pretty Mama
(4:00) 12. Once Upon a Time
(3:21) 13. You're Lucky to Me
(5:24) 14. When It's Sleepy Time Down South

All of cornetist Ruby Braff's duet collaborations with pianist Dick Hyman are something special. The success of this set was a bit unlikely because the great cornetist was very ill just a few months earlier. Luckily he recovered and does not show any weakness, hesitancy or diminishing abilities on his duet date. The emphasis is on slower renditions of superior standards, but there is also plenty of fire and subtle invention displayed during the thoughtful interpretations. Hyman is typically imaginative in his accompaniment and virtuosic solos, while Braff makes the most out of every note. Highlights include Fats Waller's "Sweet Savannah Sue," "Why Was I Born," "Thanks a Million" and "You're Lucky to Me." ~ Scott Yanow  http://www.allmusic.com/album/play-nice-tunes-mw0000026338

Personnel: Ruby Braff (trumpet, cornet); Dick Hyman (piano).

Play Nice Tunes

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Wolfgang Muthspiel - Drumfree

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 54:36
Size: 125,1 MB
Art: Front

(6:31)  1. Ibrahim
(5:05)  2. Tribal games
(6:51)  3. Sunspot
(7:11)  4. Double blues
(6:07)  5. This over that
(5:06)  6. Ralphone
(6:36)  7. The Palace (to Wena)
(5:48)  8. Looking for Elba
(5:16)  9. Raumzeit

Drumfree contains some of the most stimulating three-way counterpoint written and played in a long time. All of the compositional credit goes to Wolfgang Muthspiel, the composer; but making it all come alive is Muthspiel, the guitarist, and his chosen partners for this date: saxophonist Andy Scherrer and bassist Larry Grenadier. Muthspiel leads from the front with the warmth and splendor of his authoritative voice. The guitarist is deeply rooted in the harmonic ideas of European music, with phrases fully formed and informed by the contrapuntal ideas that spring from the tradition of Bach. Muthspiel is also a sublime melodist, taking leave from Mozart as much as he does some of his contemporaries spread across the landscape of modern music. He has certainly heard the ancestors of his chosen instrument, from Charlie Christian and Freddie Green to Wes Montgomery. But he has also listened carefully to pianists Bill Evans and the magical Abdullah Ibrahim.

Muthspiel's is a unique voice. Bright and singing, it sets the music aglow with bubbling melody and sophisticated harmony ensconced in an enormous palette of colors, which the guitarist applies with deft touch and exacting technique. He plays single notes with joyful clarity, triads and chords with a sense of purpose to bring about a sunburst of colors. His ability to make outstanding timbral pronouncements puts him in a league presided over by the sublime mastery of Ralph Towner. Here, too, Muthspiel holds his own, delivering on the promise held out for his ingenuity as well. His dialogs with that other master on this date, Grenadier, are a joy to hear, whether they are navigating a complex musical portrait in "Ibrahim," or swinging in and out of a minor blues, "Double Blues," where Muthspiel trades thirds with Grenadier, then dropping back to comp in the shadow of the bassist's deep grumbling solo. Then Muthspiel dives behind Scherrer's lush soloing, before playing a maddeningly brilliant harmonic figure to lead the trio into Grenadier's solo. In between it all there is music that reveals Muthspiel's mastery of various modes. 

This is a result of making music in Europe, where the musician is surrounded by craftsmanship and history that impels the artist into the Greco-Roman world of exactitude, as well as into the beautiful florid world of the baroque era, when Johann Sebastian Bach and Antonio Vivaldi held sway. Being surrounded by all things melodic and Mozart also must have counted for something. Muthspiel has absorbed all this as well as enough of the tradition of the blues to make music that is not only worldly in vision, but also contemporary in relevance. He demonstrates an unaffected style, letting it all emerge with just the right amount of intellect and emotion on "Ralphone," and the crowning moments of "Raumzeit," where Grenadier's arco playing is sublime. Despite Muthspiel's travels through time this remains a truly modern guitar album. ~ Raul D’Gama Rose  http://www.allaboutjazz.com/drumfree-wolfgang-muthspiel-material-records-review-by-raul-dgama-rose.php
 

Personnel: Wolfgang Muthspiel: guitars; Andy Scherrer: saxophones; Larry Grenadier: bass.

Drumfree

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Viktor Lazlo - My Delicious Poisons

Styles: Vocal, Jazz Pop
Year: 1991
File: MP3@320K/s
Time: 41:20
Size: 95,1 MB
Art: Front

(4:04)  1. Teach Me To Dance
(3:41)  2. Ballad For Lisa
(3:57)  3. Love Insane
(3:36)  4. Pearl's A Singer
(3:30)  5. Lullaby
(4:01)  6. Men Of A Kind
(4:34)  7. Light And Dark
(3:43)  8. If I Could Love You More
(3:15)  9. Desir Fou
(2:58) 10. Easy To Lose
(3:56) 11. Poison

My Delicious Poisons is the fourth studio album by French-Belgian singer Viktor Lazlo. A French version of the album was recorded and released in France, entitled Mes Poisons Délicieux. The album was not as successful as its predecessors as it only entered the Dutch album charts, peaking at No. 71. The first single off the album, Teach Me To Dance was co-written by Lazlo herself with Chris Rea. The album also contains a cover version of the Elkie Brooks song Pearl's a Singer. Singles off the album were Teach Me To Dance, Love Insane and Ballad For Lisa. https://en.wikipedia.org/wiki/My_Delicious_Poisons

My Delicious Poisons

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Snake Davis Band - Classic Sax Solos

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 60:05
Size: 137,8 MB
Art: Front

(2:10)  1. Tequila
(5:12)  2. Baker Street
(2:23)  3. Harlem Nocturne
(8:34)  4. Medley
(3:24)  5. Parker's Mood
(3:32)  6. Still Crazy After All These Years
(3:32)  7. Walk in the Night
(4:20)  8. Deacon Blues
(5:08)  9. Going Home
(4:31) 10. Just the Way You Are
(3:27) 11. Night Train
(3:11) 12. Poirot - Pink Panther
(3:42) 13. A Million Love Songs
(1:54) 14. Yakety Yak
(2:45) 15. Respect
(2:12) 16. Yakety Sax

Possibly the UKs most popular saxophone session and touring artist, Snake Davis, has compiled 16 great tunes with classic sax solos in them. A fitting tribute to some of the sax greats."We humbly offer these recordings with love and respect for the original artists. Birchy, Bryan, Gareth and Simon did an absolutely outstanding job on this album. Their commitment to this project and their intense hard work has been inspiring  they are absolute troopers. It was hard to narrow the choice down, there are just so many crackers out there. What is it that makes them classics, revered and remembered? It's such a subjective decision, and they are so very different from each other. Some go straight for your heartstrings, some grab you by the scruff of the neck, and some hit you in the stomach. We managed to get 22 solos in - some of our versions are short, and some are very short, but we only slashed so we could cover more ground. All the musicians learn from the great players who went before them, and always have done. Each of these solos is a mini masterclass on some aspect of sax playing" http://www.cdbaby.com/cd/snakedavis6

Classic Sax Solos

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Bud Shank & Bob Cooper - Blowin' Country

Styles: Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 55:45
Size: 128,2 MB
Art: Front

(3:21)  1. Dinah
(3:48)  2. Mutual Admiration Society
(4:12)  3. Steve Allen Theme
(2:45)  4. I've Grown Accustomed To Her Face
(6:18)  5. Blowin' Country
(3:17)  6. Love Nest
(3:45)  7. As Long As There's Music
(3:45)  8. Just In Time
(3:47)  9. Two Lost Souls
(4:33) 10. Thanks For The Memory
(3:38) 11. A Romantic Guy
(3:44) 12. Sweet Georgia Brown
(3:26) 13. Gypsy In My Soul
(2:34) 14. I Want To Be Happy
(2:46) 15. What'll I Do

If ever a series lived up to its promise and its name, this one surely does. These two discs are part of a set of reissues on Pacific Jazz labeled West Coast Classics which indeed they are. Also among the early releases (not reviewed here) are memorable sessions by Chet Baker/Russ Freeman, the Jack Montrose Sextet, the Jack Sheldon and Shank/Bill Perkins quintets, and octets led by Perkins and bass trumpeter Cy Touff. So far at least, there’s not a lemon in the orchard. Blowin’ Country, recorded in 1956–58, includes all selections from the original LP of that name plus five bonus tracks, on all of which Bud and Coop show that there was much more to the West Coast scene than cool. Backed by a topnotch rhythm section (with guitarist Roberts replacing pianist Williamson on the last four tracks), these two masters offer a comprehensive clinic in good old–fashioned swinging. The West Coast did have a certain “sound” of its own, which is evident throughout but the rap that it somehow didn’t swing simply doesn’t hold up under close scrutiny. 

Multi–instrumentalists Shank and Cooper let it all hang out, skipping comfortably through a colorful program that consists mostly of standards with a few not–so–standards (Steve Allen’s theme song and Shank’s “Blowin’ Country,” on which Bob and Bud frame a remarkable impression of Al and Zoot) tossed in for added flavor. Also on the menu are several lesser–known but no less convincing pieces including “Mutual Admiration Society,” “Two Lost Souls,” “As Long As There’s Music,” “The Gypsy in My Soul” and themes used by film/TV stars George Burns and Gracie Allen (“Love Nest”), Bob Hope (“Thanks for the Memory“) and Bob Cummings (“A Romantic Guy, I”). If there’s a downside, it lies in the fact that 15 tunes are crammed into the 55:37 playing time, leaving scant room to stretch. But Shank and Cooper know how to make every note count, and their solos, while perhaps briefer than one might wish, are always inspiring. Neither Shank nor Cooper was ever satisfied treading water, and both continued to refine and develop their styles. Shank is playing today as well as he ever has, while Cooper remained one of the West Coast's premier tenors until his passing in August 1995 (on the way to a rehearsal with the Bill Holman band). Mid-'50s monaural sound, but nevertheless highly recommended. 

While I can’t say I understand completely the title of valve trombonist Brookmeyer’s reissue from 1957, that’s irrelevant, really, as this is another clear–cut winner from way out west. Sound isn’t quite as sharp as on Blowin’ Country (with some slight distortion in places), but that’s a minor complaint when one hears the way Brookmeyer, Jimmy Giuffre and colleagues carve up these eight oldies from Tin Pan Alley and Brookmeyer’s “Slow Freight.” Despite the addition of two bonus tracks (“Freight,” “The Sheik of Araby”) the session still clocks in at only 49:35, which may be a consideration for those on a fixed income. But it’s good to hear Brookmeyer, one of a handful of masters on his axe, and especially the versatile Giuffre, whose more recent work lies in the realm of the avant–garde, playing sturdy straight–ahead Jazz with a well–defined kick. Brookmeyer’s a pretty fair bar–room pianist too, as he shows on “Don’t Be That Way,” “Honeysuckle Rose,” “Slow Freight” and Truckin’.” Another highlight is his muted work on “Sheik of Araby.” Another admirable session, but if forced to choose between Traditionalism and Blowin’ Country, the Shank/Cooper pairing would earn the nod by virtue of its better sound quality, running time and choice of material. ~ Jack Boewrs  http://www.allaboutjazz.com/blowin-country-traditionalism-revisited-bud-shank-capitol-records-review-by-jack-bowers.php

Personnel: Bud Shank (alto & tenor saxophones, flute); Bob Cooper (tenor saxophone); Claude Williamson (piano); Howard Roberts (guitar).

Blowin' Country

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Valerie Joyce - New York Blue

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 51:42
Size: 118,6 MB
Art: Front

(6:14)  1. It Never Entered My Mind
(4:31)  2. Blue In Green
(3:12)  3. Baby Can I Hold You
(4:29)  4. Fever
(3:26)  5. Oasis
(5:25)  6. Every Time We Say Goodbye
(3:08)  7. Moon And Sand
(3:05)  8. Little Wing
(3:09)  9. Weaver Of Dreams
(6:10) 10. It's Easy To Remember
(2:56) 11. Darn That Dream
(3:38) 12. I Fall In Love Too Easily
(2:18) 13. Golden Slumbers

Without settling into jazz-vocalist convention, Valerie Joyce has developed a voice that is wonderfully idiosyncratic, lush, and richly expressive. In an emotionally arresting and disarmingly vulnerable style, she delivers standards, modern songs destined to become standards, and originals, all with great emotional nuance. With a knowing and considered expression of music and lyrics, she conveys a sense of discovering lyrics and the resonance of songs as if for the first time. All this is documented on Joyce’s fine discs on the influential audiophile label, Chesky Records. Those albums mark the maturation of this stellar Seattle-based singer, who grew up in Japan, the daughter of a Japanese mother and American father. Joyce’s musical education began with early solfege and classical piano lessons, and then music studies while pursuing her college degree in the United States, where she has lived since 1991. She has been making recordings since 2002 (Reverie), followed in 2003 by a yet-to-be-released world-jazz project with pianist Michael Wolff and others, and then two acclaimed CDs with Chesky since 2004. New York Blue featuring pianist Andy Ezrin and The Look of Love: The Music of Burt Bacharach, featuring pianist David Hazeltine. (by Peter Monaghan)  http://valeriejoyce.com/biography/

Personnel:  Valerie Joyce – Vocals;  Andy Ezrin – Piano;  Lawrence Feldman – Alto & Tenor Saxophone;  Eugene Jackson – Drums;  Jon Hebert – Acoustic Bass, tracks 4, 8, 9, 10 & 11;  Tim Lefebvre – Acoustic Bass, tracks 1,2,3, 5,6,7,12 & 13

New York Blue

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Laurindo Almeida - Viva Bossa Nova!

Styles: Guitar Jazz, Brazilian Jazz
Year: 1962
File: MP3@320K/s
Time: 28:22
Size: 65,6 MB
Art: Front

(2:21)  1. Naked City Theme
(2:27)  2. Lazy River
(2:16)  3. Ramblin' Rose
(2:25)  4. Maria
(2:18)  5. Petite Fleur
(2:22)  6. Teach Me Tonight
(2:36)  7. Lolipops and Roses
(2:05)  8. Moon River
(3:15)  9. Desafinado
(1:55) 10. Mr. Lucky
(2:15) 11. One Note Samba
(2:01) 12. Theme from 'Route '66'

Although Laurindo Almeida was involved in many top notch authentic Bossa Nova albums, he was hardly a purist and didn’t mind mixing pop elements with Bossa Nova with the intent of reaching a broader audience. Such is the case with “Viva Bossa Nova!” from 1962, the rhythms are pure Bossa Nova, and they are expertly played, but the melodies come from popular movies and TV shows. Adding to the early 60s pop appeal is Jimmy Rowles playing a beautifully cheezy electric organ, the ultimate in ‘lounge cool’ in this pre-hippie era. It all adds up, real Bossa Nova fans may not dig this, but its perfect for fans of exotica and 60s bachelor pad mystique. Although this was mostly meant to be a pop album, none of these excellent musicians checked their creativity and talent at the door. All of the arrangements are varied and interesting and almost every tune provides a solo or two. Some top tune honors go to “Maria”, with a great sax solo from Bob Cooper, and “Petite Le Fleur” with a beautiful bass flute melody from Justin Gordon. 

“Mr Lucky” and “Theme from Route 66” are also successes in arrangement and execution. Throughout this album, Almeida and his producers stay away from overplayed tunes and the kind of super corny songs that can often drag these kind of records down. “Moon River” is probably the only song close to that category, everything else on here sounds fairly fresh. Although the choice of songs pushes this album more in a pop/exotica type direction, the high musicianship and general good-taste in presentation might make this appealing to fans of real Bossa Nova too. http://www.jazzmusicarchives.com/review/viva-bossa-nova/247448

Personnel:  Bass – Max Bennett;  Flute – Justin Gordon;  Guitar [Second] – Al Viola, Howard Roberts;  Guitar, Cavaquinho – Laurindo Almeida;  Organ [Electronic] – Jimmy Rowles;  Percussion – Chico Guerrero, Milt Holland, Shelly Manne;  Tenor Saxophone – Bob Cooper;  Trumpet – Don Fagerquist

Viva Bossa Nova!

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Don Byas Quartet - Don Byas Quartet Featuring Sir Charles Thompson

Styles: Saxophone and Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 66:49
Size: 153,5 MB
Art: Front

(5:35)  1. Autumn Leaves
(7:08)  2. Darn That Dream
(7:25)  3. Bags' Groove
(7:14)  4. Tenderly
(7:03)  5. But Not for Me
(8:58)  6. Gone With the Wind
(7:04)  7. The Girl from Ipanema
(7:45)  8. Lover Man
(6:30)  9. Stella by Starlight
(2:03) 10. Jumpin' at Basie's (Theme)

Don Byas, believing he was never going to get the recognition he deserved in this country because of bigotry, left the United States for Europe and never looked back. Virtually all of his good work was done on the Continent. Usually cited as one of the first tenor saxophonist to take up Bop, Byas never let go of his romantic and swinging roots. This reissue of a free wheeling live performance demonstrates how successful Byas was in merging all these influences into his recognizable sax sound. Tracks like "Gone with the Wind", and "Darn That Dream" recall Byas' classic 1953 outing with Mary Lou Williams where he brought the ballad sax to a new level. At the same time, "Autumn Leaves" brings to the fore Byas' bop proclivities which he so eloquently waxed on his mid 1940 sides for Savoy. On a lengthy "Tenderly"  more than seven minutes  the sax man engages in imaginative improvisation. "But Not for Me" swings like crazy recalling Byas' days with the Count Basie Orch. when he took over Lester Young's chair. 

Byas is joined on this set by another emigree, pianist Sir Charles Thompson. These two were together on that famous jazz highway, New York's 52nd Street, during the early days of Bop before departing for more appreciative shores. Thompson took a relatively simplistic, clean approach to the piano, leaving lots of space between the chords. This creates a favorable contrast with the sometimes busy sax of Byas. Occasional bumps in the road notwithstanding, this CD offers an hour of solid playing from two of jazz history's more neglected figures. The only complaint with this CD is that sometimes Thompson sounds as if he's playing the piano in the next room. Despite that flaw, this album is recommended. ~ Dave Nathan  http://www.allaboutjazz.com/featuring-sir-charles-thompson-don-byas-storyville-records-review-by-dave-nathan.php
 

Personnel:  Don Byas - Tenor Sax;  Sir Charles Thompson- Piano;  Isla Eckinger - Bass;  Peter Schmidlin -Drums

Don Byas Quartet Featuring Sir Charles Thompson

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Bud Powell and Don Byas - A Tribute to Cannonball

Styles: Piano And Saxophone Jazz

Year: 1961

File: MP3@320K/s

Time: 61:21

Size: 140,9 MB

Art: Front

(5:11)  1. Just One of Those Things

(4:49)  2. Jackie My Little Cat

(6:20)  3. Cherokee

(6:17)  4. I Remember Clifford

(6:32)  5. Good Bait

(6:00)  6. Jeannine

(7:25)  7. All The Things You Are

(5:33)  8. Myth

(5:17)  9. Jackie My Little Cat (Alternate)

(7:51) 10. Cherokee (Unissued alternate)

The title of this album is misleading for, although Cannonball Adderley produced the session, no "tribute" takes place. Adderley could always recognize talent and he was wise to get the veteran tenor Don Byas (who had not recorded since 1955) back on record. Teamed in Paris with trumpeter Idrees Sulieman, pianist Bud Powell, bassist Pierre Michelot and drummer Kenny Clarke, Byas proved to be in prime form on a variety of jazz standards including "Just One of Those Things," "Cherokee" and "Jeannine." This set has also been reissued on CD under Bud Powell's name. ~ Scott Yanow  http://www.allmusic.com/album/a-tribute-to-cannonball-mw0000026090

Personnel: Don Byas (tenor saxophone); Idrees Sulieman (trumpet); Bud Powell (piano); Kenny Clarke (drums).

A Tribute to Cannonball

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Viktor Lazlo - My Name Is Billie Holiday

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 53:05
Size: 121,8 MB
Art: Front

(4:34)  1. Summertime
(3:09)  2. My Man
(2:33)  3. Them There Eyes
(4:06)  4. The Man I Love
(2:03)  5. Swing Brother Swing
(4:40)  6. Don't Explain
(3:19)  7. Just One Of Those Things
(3:38)  8. Love For Sale
(3:26)  9. You Got To My Head
(4:51) 10. Goodmorning Heartache
(5:09) 11. You've Changed
(2:31) 12. Me, Myself and I
(2:41) 13. What A Little Moonlight Can Do
(3:08) 14. Strange Fruit
(3:10) 15. Georgia On My Mind

A stylish and sensual singer, Sonia Dronier became Viktor Lazlo when Belgian producer Francis Depryck discovered her and put together a package inspired by strong sexuality and black-and-white film. Born in Lorient, France, Dronier spent her college years studying and modeling in Brussels, Belgium. After she spent some time singing backup vocals in Depryck's band Lou & the Hollywood Bananas, the producer rounded up a set of nostalgic and noir-flavored songs and renamed her after a character in the Humphrey Bogart classic Casablanca. The stylish full-length She began her career in 1985 with a mix of songs sung in French, English, and Spanish. 

A French-language cover of Julie London's "Cry Me a River" ("Pleurer des Rivières") became a big hit across Europe a year later. In 1987 she hosted the televised broadcast of the Eurovision contest, which was held in Belgium that year. That same year she had another Euro hit with "Breathless," a duet with American singer James Ingram. After a move back to France in 1989 she released a series of successful albums before the ambitious Verso appeared in 1996 with funk and dub influences and a guest appearance from the classic reggae rhythm section of Sly & Robbie. Critical response to the album was so overwhelmingly positive that Dronier claimed interviews promoting the release had focused on her music instead of her clothes for the first time in her career. ~ David Jeffries  http://www.allmusic.com/artist/viktor-lazlo-mn0000622920/biography

Personnel:  Vocal – Viktor Lazlo;  Bass – Werner Lauscher;  Drums – Marc Lehan;  Piano – Michel Bisceglia;  Saxophone – Nicolas Kummert

My Name Is Billie Holiday

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Charlie Haden & Hampton Hawes - As Long As There's Music

Styles: Jazz, Post-Bop
Year: 1976
File: MP3@320K/s
Time: 70:14
Size: 161,4 MB
Art: Front

(8:01)  1. Irene
(5:39)  2. Rain Forest
(7:57)  3. Turnaround
(8:15)  4. As long as there's music
(9:16)  5. This is called loved
(8:09)  6. Hello/Goodbye
(8:43)  7. Irene (alternative)
(6:40)  8. Turnaround (alternative)
(7:31)  9. As long as there's music (alternative)

Although one would not immediately associate bassist Charlie Haden with pianist Hampton Hawes, they had performed together on an occasional basis since first meeting in 1957. This Artists House LP, a set of five duets, was their last opportunity to play together because Hawes would pass away the following year. The music includes a fairly free improvisation on "Hello/ Goodbye," the duo's intepretation of the title cut, a collaboration on "This Is Called Love" and two originals from the pianist. This quiet and often lyrical set contains a great deal of thoughtful and subtle music by two masters. ~ Scott Yanow  http://www.allmusic.com/album/as-long-as-theres-music-mw0000100247

Personnel: Charlie Haden (bass); Hampton Hawes (piano).

As Long As There's Music                

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Dana Bauer - In My Own Voice

Size: 81,1 MB
Time: 34:53
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz Vocals
Art: Front

01. This Couldn't Be The Real Thing (5:19)
02. Begin The Beguine (3:41)
03. If I Only Had A Heart (2:48)
04. Bill (3:54)
05. Down With Love (2:15)
06. I'll Be Seeing You (3:25)
07. Smile (3:15)
08. Ten Minutes Ago (3:23)
09. The Waters Of March (3:36)
10. I Walk A Little Faster (3:12)

Dana Bauer grew up in Vallejo California as part of a music-loving family. A singer from the get-go, she took up the flute at age ten, later adding oboe, saxophone and clarinet to her woodwind arsenal. An oboe major at San Francisco State University, she worked her way through college singing with her own band. The band's repetoire included swing, country and pop, but then and always, Dana's heart belonged to the Great American Songbook. "Those songs spoke to me in a way nothing else did," she confides.

All of that woodwind practice must have paid off, as Dana was tapped as a last minute replacement in the band for a tour of "A Chorus Line", a ten week job that turned into three years of touring Europe and Asia. That tour led to a six year stint with 'Les Miserables". "I left college in the middle of a semester to go on the road, so I traded a Bachelor's in Music for a PhD in Showbusiness," she quips.

Her singing career had to take a backseat during those years on tour, but all that's changed. The demise of big record lables and the rise of self-produced projects have allowed artists like Dana to come into their own. Her first CD" In My Own Voice" is a collection of jazz standards, some chestnuts and some hidden treasures. With America's renewed appreciation for jazz and cabaret, Dana feels the timing of this CD couldn't be more perfect. "It's always been my dream to sing what I want, the way I want, with the musicians I want. This CD is that dream realized." Enjoy.

In My Own Voice

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Vinnie Zummo - The Coyote

Size: 130,8 MB
Time: 56:09
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Bebop
Art: Front

01. The Thing Is This (4:24)
02. The Coyote (4:43)
03. Afternoon Hang (6:06)
04. Candy (6:54)
05. On The Groove (6:10)
06. Retro Fuso (5:53)
07. Sophistry (3:29)
08. Giant Steps (2:58)
09. About 116 (6:52)
10. Fonk 4 Da Monk (2:29)
11. Afternoon Hang (No Sax Mix) (6:06)

This is a unique album. It features the unique guitar playing of former Joe Jackson Band guitarist Vinnie Zummo with the amazing saxophone arrangements of Gary Anderson. With an all star guest list that includes: Vinnie Zummo, Gary Anderson, Joe Jackson, Will Lee, Mike Mainieri,Graham Maby, Mark Egan, Todd Sucherman, Charles McNeal, Gerald Cannon, Ray Marchica, Gary Deinstadt, Cameron Brown, Matty Amendola, Bill Stuart, and Bashiri Johnson.
The album is mostly bop oriented featuring Vinnie's silky playing but there is a power zydeco track called "Retro Fuso" which features Vinnie's old boss Joe Jackson, Graham Maby and Matty Amendola and a burning fusion song called "Funk 4 Da Monk" featuring drumming super star Todd Sucherman.
This is a totally unique album that manages to be completely unique and modern but has a retro 50's cool bop touch to it as well.

The Coyote

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Jill Saward - Just For You (Deluxe Version)

Size: 134,6 MB
Time: 57:45
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Just For You (4:43)
02. Jazz In The Night (4:03)
03. Breathing Space (6:10)
04. Your Love, My Love (4:33)
05. Someday (4:07)
06. When The Trust Has Gone (4:37)
07. What Goes Around (4:31)
08. Show Me The Way (4:14)
09. Where Is The Love (4:43)
10. Out Of The Dark Days (3:51)
11. Indian Summer (4:12)
12. Highly Sensitive (4:46)
13. Polka Dots And Moonbeams (3:09)

Shakatak frontwoman Jill Saward surprised once again with her Jazzy Sound on her New Album “Just For You”.

Just For You (Deluxe Version)

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Jim Rotondi - Dark Blue

Size: 148,8 MB
Time: 64:11
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. In Graz (6:11)
02. BC (5:13)
03. Biru Kirusai (5:25)
04. Dark Blue (8:00)
05. Highline (5:42)
06. Pure Imagination (7:03)
07. Monk's Mood (7:28)
08. Le Crest (5:34)
09. Our Day Will Come (6:42)
10. Going To The Sun (6:48)

For 20+ years, Jim Rotondi was one of the trumpet heroes of the New York City jazz scene and a musician whose fiery playing and daring solos firmly established him as a torchbearer of the Lee Morgan-Freddie Hubbard-Woody Shaw trumpet tradition. Like so many jazz greats before him, he’s based in Europe now, but he’s still blowing with the same intensity, if not more.

His new recording, Dark Blue, uses the importance of place as a central theme and features music inspired by pivotal locations in his career from Europe to New York and beyond. While the title itself doesn’t reference any particular place, it’s a vivid description of this breathtaking music and this spectacular quintet that brings together hard-bop stalwarts David Hazeltine (piano), Joe Locke (vibes), David Wong (bass) and Carl Allen (drums).

Dark Blue

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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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