Bob Blakeley - Performance

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 39:58
Size: 93,7 MB
Art: Front

(3:48)  1. Cry Me A River
(3:30)  2. It Don't Mean A Thing (If It Ain't Got That Swing)
(4:07)  3. It Was A Very Good Year
(3:56)  4. Life On Mars
(4:47)  5. You've Lost That Lovin' Feelin
(3:24)  6. God On Drums, Devil On The Bas
(3:38)  7. Abracadabra
(3:31)  8. Just One Smile
(4:24)  9. Kites
(4:48) 10. Whatever You Believe

After failing to make it past the blind audition stage on BBC’s The Voice earlier this year, Bob Blakeley’s debut album, Performance, looks set to debut in the Top 20 this weekend. 

When his rendition of the Ella Fitzgerald classic, Cry Me A River, failed to win over The Voice judges, Tom Jones told 56 year-old warehouse worker, Bob Blakeley, “You should be a professional singer, that’s how good you are.” Well Tom, it looks like Bob did just that! After his surprisingly short lived stint on The Voice, Bob Blakeley was offered a record deal live on TV during an interview with BBC Breakfast. Record label boss, Mike Batt (credited with discovering chart topper Katie Melua, as well as writing the 1979 Official Singles Chart Number 1 classic, Bright Eyes), told BBC Breakfast, "I think the nation felt a sense of injustice [when the judges didn’t turn around] and I share that". Mike snapped up Bob, signing the singer to his label, Dramatico Entertainment, and went on to produce the singer’s debut album, Performance. According to Official Charts Company sales data, Performance is currently sitting at Number 20 on the Official Albums Chart and, if it maintains its sale momentum throughout the week, could well be on track to chart higher on Sunday! "Hearing the news today was just amazing, a total shock." Bob told OfficialCharts.com, “It is absolutely phenomenal. Words can’t describe how I feel. It means so much to me.” http://www.officialcharts.com/chart-news/bob-blakeley-proves-he-has-the-voice-as-he-storms-towards-top-20-__4132/

Performance

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Jan Garbarek - Paths, Prints

Styles: Saxophone Jazz
Year: 1982
File: MP3@320K/s
Time: 51:06
Size: 117,4 MB
Art: Front

( 7:16)  1. The path
(10:08)  2. Footprints
( 5:41)  3. Kite dance
( 3:15)  4. To B.E.
( 6:43)  5. The move
( 5:06)  6. Arc
( 6:35)  7. Considering the snail
( 6:18)  8. Still

December of 1981 was a magical month for ECM, producing such treasures as Psalm and Opening Night. On Paths, Prints, however, Manfred Eicher raised the bar yet again in bringing together another of his unique dream teams. Jan Garbarek, Bill Frisell, Eberhard Weber, and Jon Christensen in the same studio? Engineering complexities aside, one need only have hit Record, taken a nap, and awoken to masterful results. Throughout this session, Garbarek’s sharply defined reveries prove the perfect fulcrum for Frisell’s broadly sweeping clock hands. Garbarek also exposes a softer side, as in the whispered edges of “The Path” and “Arc,” and in the seesawing contours of “Still.” The painterly movements of “Kite Dance,” on the other hand, foreground Weber’s globules of sound against the blush and heartwarming soloing of Frisell’s omnipresent guitar. 

Not too far behind are “Footprints,” which shows Christensen in an especially colorful mood, and “The Move,” which pours on Garbarek’s signature lilt like heavy cream. Certainly his most effective passages are also the most intimate: “Considering The Snail” and “To B.E.,” the latter a duet with Frisell, are concave, while their surroundings are convex. One can easily fall into the trap of painting ECM jazz as forlorn, breezy, and overwhelmingly lonesome. Yet one journey through Paths, Prints is all it takes to realize that the music is always our companion. http://ecmreviews.com/2011/11/10/paths-prints/

Personnel:  Jan Garbarek - tenor and soprano saxophones, wood flutes, percussion;  Bill Frisell – guitar;  Eberhard Weber – bass;  Jon Christensen - drums, percussion

Paths, Prints   

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Petra Pacaric - No More Blues

Styles: Vocal Jazz, Bossa Nova
Year: 2016
File: MP3@320K/s
Time: 30:25
Size: 70,5 MB
Art: Front

(3:21)  1. Samba Saravah
(3:22)  2. No More Blues
(2:34)  3. The Best Is Yet To Come
(3:05)  4. O Pato
(3:31)  5. The Girl Of Ipanema
(3:08)  6. Waters Of March
(4:12)  7. Besame Mucho
(3:15)  8. Just The Two Of Us
(3:53)  9. La Vie En Rose

"No More Blues" gives a sparkling homage to the beauty of the Bossa Nova, French, Latin, and American Jazz genres. Based on the Brazilian original "Chega de Saudade", No More Blues symbolizes the artist's journey performing an enormous range of styles over the years, from folk, to pop, to opera, to jazz. No More Blues stands for the realization that even the most exciting journeys, including musical ones, eventually lead to that soothing place where coming home becomes the new adventure. Petra Pacaric is a versatile vocalist whose musical upbringing in Europe and fluency in five foreign languages made it possible for this artist to assimilate almost every thinkable style of music throughout her unique performance career. No More Blues is a musical cocktail of exciting tunes that are guaranteed to please. https://www.cdbaby.com/cd/petrapacaric

No More Blues

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John Sheridan And His Dream Band - Swing is Still the King

Styles: Vocal And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 68:35
Size: 157,5 MB
Art: Front

(4:35)  1. Always
(5:53)  2. Ballad in Blue
(6:36)  3. You Turned the Tables on Me
(4:08)  4. You're a Heavenly Thing
(3:27)  5. Did You Mean It?
(4:11)  6. Sometimes I'm Happy
(4:28)  7. Keep Me in Mind
(4:27)  8. Behave Yourself
(4:24)  9. Shirley Steps Out
(5:05) 10. Don't Be That Way
(4:19) 11. Take Another Guess
(3:33) 12. I Had to Do It
(5:09) 13. These Foolish Things (Remind Me Of You)
(5:00) 14. Gotta Be This or That
(3:12) 15. Goodnight, My Love

Pianist John Sheridan has worked hard to keep the spirit of swing alive, both in other bands and as a leader. On Swing Is Still the King, he furthers his effort with the support of singer Rebecca Kilgore and an ensemble of nine other players, including guitarist Eddie Erickson, cornetist Randy Reinhart, and saxophonist Dan Block. Sheridan has named this combo His Dream Band, and the players are given a chance to strut their stuff on the first three instrumentals, including a nice take of Irving Berlin's "Always" and a six-and-half-minute version of "You Turned the Tables on Me." Although the ensemble is fairly large, the arrangements are spare and flexible.

Kilgore joins the band on the fourth cut, "You're a Heavenly Thing," and her vocals play a large role on Swing Is Still the King, fronting the band on ten of the 15 tracks. Kilgore has good tone and works well within the classic medium of swing, and it's nice that she has chosen songs that are not overly familiar. She delivers a fine version of Mel Powell's "Shirley Steps Out," and is equally at home with ballads and uptempo numbers. With sympathetic vocals, a solid band, and good songs, Sheridan will easily convince listeners that Swing Is Still the King. ~ Ronnie D.Lankford,Jr.  http://www.allmusic.com/album/swing-is-still-the-king-mw0000576897

Personnel: John Sheridan (vocals, piano); Rebecca Kilgore (vocals); Eddie Erickson (guitar); Daniel Block (clarinet, alto saxophone, tenor saxophone, baritone saxophone); Ron Hockett (clarinet); Randy Reinhart (cornet); Dan Barrett , Russ Phillips (trombone); Jake Hanna (drums).

Swing is Still the King

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Various Artists - Cohen - The Scandinavian Report

Styles: Vocal, Pop/Rock
Year: 2009
File: MP3@320K/s
Time: 75:50
Size: 174,3 MB
Art: Front

(4:05)  1. Cookies 'n Beans - First We Take Manhattan
(3:48)  2. Rebecka Törnqvist - Here It Is
(4:31)  3. Moto Boy - If It Be Your Will
(4:46)  4. Jan Malmsjö - Dansa mig till kärlekens slut
(4:31)  5. Ane Brun - Ain't No Cure for Love
(5:31)  6. Bo Sundström - Everybody Knows
(4:10)  7. Sara Isaksson - Hey That's No Way to Say Goodbye
(3:39)  8. Lars Halapi - Sisters of Mercy
(7:06)  9. Mikael Wiehe - USA är redo för demokrati
(3:39) 10. Anders Widmark - Hallelujah
(5:05) 11. Eva Dahlgren - Bird on the Wire
(4:31) 12. Vidar Johansen & Peter Nordberg - In My Secret Life
(4:21) 13. Jenny Wilson - The Partisan
(3:43) 14. Olle Ljungström - Chelsea Hotel #2
(7:12) 15. Sophie Zelmani - Waiting for the Miracle to Come
(5:04) 16. Christel Alsos - Suzanne

On a distinctly grey day in January I got a call from AnR Lars ”Billy” Hansson. After about a minute of comparing the wheather in Stockholm and Skåne , and making sure our families were both well, he asked me: How about making a tribute album to Leonard Cohen? I´ve always been a big fan of Cohens´ music and had two months earlier seen one of the best concerts in my life Leonard Cohen in Göteborg. So, of course, my answer was yes. So, how do you make a tribute album? Well, off course you need to find the right artist for the right song. Next step is to make it sound like one album. How do you achieve that? I had been thinking about this and also trying to find new ways to get presence and vibrance in recordings and I had an idea: 

One place, one time and one band.No safety net. The different artists would come one after another and sing their song. Lars Hansson liked the idea and we started to discuss singers and songs, studios and engineers, and budgets... Eventually we agreed on a list of very fine Swedish and Norwegian artists and to our joy almost everyone were happy to come. Further more we settled for the 17-18 of August at Studio 4, Radiohuset, Stockholm. Lars and I continued to work on the planning and logistics and I contacted all the artists to discuss key, tempo,arrangement and vibe. The C-day finally came. The plan was to record 19 songs in two days. This takes a lot of concentration from a lot of people. Singers, musicians, engineers. It also takes a lot of luck: One late airplane, two hours of computer problems and one artist not happy with the microphone could jeopardise the whole album. I can honestly say I´ve never been so tired, or musically happy, as when we finished the last song 9.30 pm on the 18th. Everybody involved had done their utmost to make this album come alive and the artists all brought their musicality, their personal interpretation, their concentration. And all this with high spirits and lot´s of generousity. I´m deeply grateful. And very proud over this album. http://www.leonardcohenfiles.com/swedentrib.html

Cohen - The Scandinavian Report

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Jan Garbarek Quartet - Afric Pepperbird

Styles: Saxophone Jazz
Year: 1970
File: MP3@320K/s
Time: 41:19
Size: 96,0 MB
Art: Front

( 6:19)  1. Skarabee
( 1:56)  2. Mah-Jong
(12:27)  3. Beast of Kommodo
( 8:41)  4. Blow Away Zone
( 1:53)  5. MYB
( 0:53)  6. Concentus
( 7:58)  7. Afric Pepperbird
( 1:08)  8. Blupp

Long ago, before he achieved relative stardom with his Nordic, somewhat new-agey recreations of medieval music, Jan Garbarek produced a handful of spectacular, robust albums for ECM where the influence of free jazz, particularly Albert Ayler, was paramount. Afric Pepperbird was his first recording for the then fledgling label and it features his quartet at the height of their powers, embellishing his muscular and imaginative compositions with outstanding, individualistic playing. From the eerie keening of the opening "Scarabee," framed by Jon Christensen's pinpoint delicate drums, to the hard-driving "Beast of Kommodo" with the leaders wailing bass sax to Rypdal's manic explorations on Blow Away Zone, this is one stellar effort. 

Add to that three drop-dead gorgeous miniatures by the great and undersung bassist Arild Andersen and the title track, one of the most deliriously infectious melodies you'll ever hear. Together with Sart, Tryptikon, and Witchi-Tai-To (as well as a prior recording on Flying Dutchman), this album represents the strongest, most aggressive portion of Garbarek's career, before he succumbed to what became known as the ECM aesthetic. Very highly recommended. ~ Brian Olewnick  http://www.allmusic.com/album/afric-pepperbird-mw0000315243

Personnel: Jan Garbarek (flute, clarinet, tenor saxophone, bass saxophone, percussion); Terje Rypdal (guitar, bugle); Arild Andersen (xylophone); Jon Christensen (percussion).

Afric Pepperbird

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Snake Davis - Talking Bird

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 46:21
Size: 106,5 MB
Art: Front

(3:52)  1. Talking Bird
(4:21)  2. Refuge
(3:01)  3. Dragonfly
(4:54)  4. Fuji Sighting
(4:22)  5. Harlem Stroll
(5:43)  6. Dreaming On
(3:02)  7. Day of the Snake
(4:16)  8. Kikbak
(3:49)  9. Shiro Sunset
(4:12) 10. Cross The Line
(4:43) 11. Naima

Well, this might be pretty unoriginal and obvious, but, here goes. What do Chaka Khan, the late James Brown, The Eurythmics, the late Ray Charles, Smokey Robinson, Lisa Stansfield, Tina Turner, and Paul Hardcastle all have in common? That’s right, and you go to the head of the class. It’s an association with Snake Davis, one smooth, soulful and funky sax player with a lot of creativity and imagination. Oh, he’s been away from the scene for a bit, but he’s back with a vengeance here on Talking Bird. Not only proficient on sax and flute, he showcases his expertise on one of my favorite instruments to hear: the shakuhachi. A real treat for me. 

Talking Bird is a cornucopia of style, sound, mystique, funk and brilliance. There’s more than enough here for the most discriminating ear as well as the ear that welcomes a diversity of sound. It’s all here in a neat package of skill and appeal. From the smooth and funky opening track (also the title track) to the soulful utterings on "Refuge," to the exoticism of "Dragonfly," to the sultry, sexy, bluesy midnight ballad "Dreaming On" (umph, umph, umph, will be the response from the Euge Groove/Boney James fans, particularly the ladies), to the up-tempo Latin calor of "Day of the Snake" to all of the other movers and groovers on this well-conceived bit of artistry, Davis lays it all out for all to appreciate and appreciate you undoubtedly will! Davis, who's been hanging out mostly in the United Kingdom (he also did a three-month stint in Japan), is scheduled to embark upon an extensive 2008 tour. 

I certainly hope there will be some stops here in the U.S. That tour will be most incomplete if he doesn’t tap into the enthusiasm and appreciation he most certainly will receive here! Should he plan a few stops here, my advice to all who read this would be: Come one, come all. Let’s all do this because this is one artist and his material not to be missed. ~ Ronald Jackson  http://www.jazzreview.com/cd-reviews/smooth-jazz-cd-reviews/talking-bird-by-snake-davis.html

Personnel:  Snake Davis (saxes, flutes, shakuhachi),  Paul Birchall (keys),  Bryan Hargreaves (drums/percussion),  Neil Fairclough (bass),  Mark Creswell (guitar),  Dave Bowie (double bass),  Sam Hobbs (drums),  Gareth Moulton (guitar),  Veronika Novotna (violins)

Talking Bird     

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Chris Connor - He Loves Me, He Loves Me Not

Size: 104,8 MB
Time: 44:53
File: MP3 @ 320K/s
Released: 1956/2007
Styles: Jazz Vocals
Art: Front

01. High On A Windy Hill (3:47)
02. 'Round About (3:55)
03. Angel Eyes (3:43)
04. You Stepped Out Of A Dream (3:47)
05. Why Can't I (3:46)
06. Suddenly It's Spring (3:08)
07. About The Blues (3:44)
08. Oh! You Crazy Moon (3:40)
09. But Not For Me (3:47)
10. I Guess I'll Hang My Tears Out To Dry (3:27)
11. I Wonder What Became Of Me (4:10)
12. Thursday's Child (3:52)

Along with June Christy, Helen O'Connell, and Julie London, Chris Connor epitomized cool jazz singing in the 1950s. Influenced by Anita O'Day, the torchy, smoky singer wasn't one for aggression. Like Chet Baker on the trumpet or Paul Desmond and Lee Konitz on alto sax, she used subtlety and restraint to their maximum advantage. At the University of Missouri, Connor (who had studied clarinet at an early age) sang with a Stan Kentonish big band led by trombonist Bob Brookmeyer before leaving her native Kansas City for New York in 1947. Quite appropriately, she was featured in the lyrical pianist Claude Thornhill's orchestra in the early '50s. After leaving Thornhill, Connor was hired by Kenton at Christy's recommendation, and her ten-month association with him in 1952-1953 resulted in the hit "All About Ronnie." Connor debuted as a solo artist in 1953, recording three albums for Bethlehem before moving to Atlantic in 1955 and recording 12. Connor reached the height of her popularity in the 1950s, when she delivered her celebrated versions of Billy Strayhorn's "Lush Life" and George Shearing's "Lullaby of Broadway," and recorded such excellent albums as The Rich Sound of Chris Connor and Lullabies of Birdland for Bethlehem and Chris Craft and Ballads of the Sad Cafe for Atlantic. Connor made a poor career move in 1962, the year she left Atlantic and signed with a label her manager was starting, FM Records -- Connor had recorded only two albums for FM when they folded. Connor's recording career was rejuvenated in the 1970s, and she went on to record for Progressive, Stash, and Contemporary in the '70s and '80s. Connor maintained a devoted following in the 1990s and continued to tour internationally. ~by Alex Henderson

He Loves Me, He Loves Me Not

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John Hart - Exit From Brooklyn

Size: 135,6 MB
Time: 58:17
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Mainstream Jazz
Art: Front

01. Here's That Rainy Day (5:51)
02. Exit From Brooklyn (5:54)
03. The Star Crossed Lovers (5:01)
04. Inside Out (6:04)
05. April In Paris (8:03)
06. Just Friends (5:49)
07. I Mean It! (6:53)
08. Ask Me Now (4:51)
09. Jackie-Ing (4:13)
10. Where Or When (5:32)

In the winter of 1984 I first arrived in New York City. Fresh out of college, armed with a couple of guitars, I was unaware that I was about to begin a 30-year odyssey in which I would experience virtually every facet of the NY jazz scene. I soon landed in Brooklyn - Fort Greene to be exact. Brooklyn was a popular location for migrating young jazz musicians at that time, as it was difficult for many to negotiate Manhattan’s high rents. Neighborhoods such as Ft. Greene, Park Slope, and Brooklyn Heights were teaming with musicians, and the sound of jam sessions coming from inside apartment buildings was ubiquitous.
It was a different Brooklyn from the Brooklyn today. The term hipster was dormant and I would venture to say that there were very few Brooklynites who knew what a latte was. The one thing that hasn’t changed, however, is the vibrant and fertile jazz scene that has always resided there.

Brooklyn is where I first met Bill Moring and Tim Horner, the two remarkable musicians who join me on this disc. We met shortly after I moved to NY, all from different parts of the country, each with different backgrounds but all with the same goal, to play and learn. We ran into each other at some of those apartment jam sessions, found each other on various gigs together, and eventually formed a trio around 2000. This is our fourth CD together. In the late 90’s we all headed to the suburbs, raised our families, played a lot of gigs together and kept those jam sessions happening (all though this time in a house, not an apartment!)

My idea for this record was for us to convene with a minimum of rehearsal, play music that is rich in melody and explore and refine the chemistry that we have developed after all these years playing together.

Exit From Brooklyn

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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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