Wednesday, April 13, 2016

The Pointer Sisters - The Pointer Sisters

Styles: Vocal, Funk
Year: 1973
File: MP3@320K/s
Time: 47:01
Size: 117,5 MB
Art: Front

(6:01)  1. Yes We Can Can
(3:10)  2. Cloudburst
(4:40)  3. Jada
(5:51)  4. River Boulevard
(4:01)  5. Old Songs
(7:08)  6. That's How I Feel
(2:18)  7. Sugar
(2:36)  8. Pains And Tears
(3:45)  9. Naked Foot
(7:27) 10. Wang Dang Doodle

The Pointer Sisters began their formal vocal training in their father's church, The Church of God in West Oakland, California. They went on to achieve worldwide fame and have secured a place in pop music history as a dynamic female group! Their first performance in Los Angeles at the Troubadour club was hailed by critics for its versatility and range and called The Pointer Sisters "the most exciting thing to hit show business in years." Their 1973 debut album gave us the singles, "Yes We Can, Can," which reached #11 on Billboard magazine's pop singles chart. The album was certified gold and the group had become the most talked-about new act of the year. The following year, the sisters released That's A Plenty, an album that included a bona-fide country-western tune, "Fairytale," written by the sisters. The single hit big on both the country and pop charts. As a result, the sisters became the first black female group to ever perform at the Grand Ole Opry in Nashville, Tennessee. They also became the first contemporary act to perform at the San Francisco Opera House and released a live recording of the performance. In 1975, "Fairytale" won the sisters their first Grammy Award, for Best Country Performance by a Duo or Group with Elvis Presley later covering the tune. That year, the Pointers released their fourth album for Blue Thumb. Entitled Steppin', the record included "How Long (Betcha Got A Chick On The Side)"; co-written by the sisters, it went top 20 on the pop charts and sailed all the way to #1 on R&B. In 1976, the sisters hit the big screen, joining Richard Pryor in the film, Car Wash. "You Gotta Believe" which was featured on the film's soundtrack, rose up the R&B charts. In 1977, the Pointer Sisters released Having a Party, their last album for Blue Thumb and their last album as a quartet.

In an effort to change their style, the sisters signed with Planet Records and teamed up with Richard Perry, a well-known producer who had previously worked with such artists as Barbara Streisand and Carly Simon. Together, they decided to record a rock 'n roll album. The group's debut single, Bruce Springsteen's "Fire," went all the way to #2 on the pop charts and went gold. Boosted by "Fire," the Energy album was certified gold and went on to spawn another top single with "Happiness". In 1980, the group released the gold-certified Special Things; it featured the song "He's So Shy" that went to #3 and gold status. In 1981, the group released Black & White, which included one of the biggest hits of the year, "Slow Hand." The single topped out at #2 on the Billboard charts, and became an anthem for women across the country.

Alas, the title of their 1983 album summed up exactly what the trio was about to do: Break Out. Upon its release, Stereo Review called the new album "the Pointer Sisters at their sassiest, brassiest, up-tempo best." When Ruth took the lead for "Automatic," her deeper-than-deep vocals practically leapt off the vinyl, and helped the single go all the way to #5. The Pointer Sisters landed all over MTV, becoming one of the first black acts to be played in heavy rotation. "Jump(for my love)" raced to #3 on the pop charts. "I'm So Excited" hit the Top 10 and became a Pointer classic! To date, the song has been played over 2.5 million times on radio. "Neutron Dance," featuring Ruth's gospel-spiked shouts, rose to #6 on the pop charts as its video dominated MTV. Paramount Pictures included the hit in their film, Beverly Hills Cop, starring Eddie Murphy. Finally, Break Out spawned a sixth single, "Baby Come And Get It." The success of the album earned the sisters two Grammy Awards (Best Vocal by a Duo or Group for "Jump" and Best Vocal Arrangement for "Automatic") and two American Music Awards. Break Out was certified triple-platinum, making it the biggest selling album of the Pointer Sisters' career. While they toured heavily and made countless television appearances, the group made a move to RCA Records, which released the Contact album in 1985. The set's first single, "Dare Me," hit #11 and was accompanied by another stylish video that established the Pointer Sisters as trendsetters for a whole new generation. Within three weeks of its release, Contact was certified platinum, and the group went on to win another American Music Award for Best Video Group. In late 1986, the Pointer Sisters released their second album on RCA, Hot Together, which spawned a top 40 hit with "Goldmine." The Pointers helped promote the album in 1987 by hitting prime time with their first television network special, Up All Night, featuring the sisters touring Los Angeles night spots with guest stars Whoopi Goldberg, Bruce Willis and The McGuire Sisters.

1993 marked the Pointer Sisters 20th year in the recording industry, and they helped celebrate the anniversary with a new album, entitled, Only Sisters Can Do That, on SBK Records. All three sisters wrote material for the album. Fans and critics alike sang the record's praises Entertainment Weekly, for one, called the album "catchier than…Janet Jackson" and proclaimed it "the catchiest Sisters set since 1984's hit-packed Break Out." In 1994, a massive crowd swarmed to Hollywood Boulevard to see the ladies receive a star on the Hollywood Walk of Fame, an event proclaimed "Pointer Sisters Day" in Hollywood. That same day, it was announced that the group would begin a world-wide tour of the Fats Waller musical, Ain't Misbehavin'. They toured with the show for 46 weeks and recorded a cast album. The sisters went on to be honored on the Soul of American Music Awards and were also inducted into the Soul Train Hall of Fame. They performed a special concert at the White House for then President Clinton. In 1996, they were one of the legendary acts that performed at the closing ceremony of the Olympics in Atlanta, and the group was saluted with Fire The Very Best of the Pointer Sisters, a 36-song anthology that chronicled the sisters' career. In recent years, the group has performed with some of the greatest symphony orchestras in the world, including San Francisco, Jacksonville, Atlanta's Symphony Orchestra and the renowned Boston Pops. 

They were a smash hit at Night of the Proms, which spanned over 50 sold-out performances throughout Germany, Holland and Belgium, and has secured the group many more successful tours in Europe. The group recorded a live CD/DVD, which captured the energetic Pointers performing the hits that fans of all ages continue to enjoy! Ruth, Issa and Sadako maintain a busy touring schedule and perform the music of The Pointer Sisters all over the world.http://www.thepointersisters.com/group-biographies/group-bio-short

Personnel:  Anita Pointer, Ruth Pointer, Bonnie Pointer, June Pointer – vocals;  Gaylord Birch – drums;  Tom Salisbury – piano;  Ron McClure – acoustic bass, electric bass;  Willie Fulton – electric guitar;  Ed Marshall – drums on "Cloudburst" and "Jada";  Rod Ellicott – bass on "River Boulevard";  Norman Landsberg – piano on "Old Songs";  The Hoodoo Rhythm Devils – backing band on "Wang Dang Doodle"

The Pointer Sisters 

Tuesday, April 12, 2016

Ella Fitzgerald - Jazz At The Philharmonic: The Ella Fitzgerald Set

Size: 160,4 MB
Time: 68:51
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Introduction Of Ella Fitzgerald (Live From Carnegie Hall 1949) (0:20)
02. Robbins' Nest (Live From Carnegie Hall 1949) (2:22)
03. A New Shade Of Blues (Live From Carnegie Hall 1949) (2:56)
04. Old Mother Hubbard (Live From Carnegie Hall 1949) (2:53)
05. I'm Just A Lucky So-And-So (Live From Carnegie Hall 1949) (2:54)
06. Somebody Loves Me (Live From Carnegie Hall 1949) (1:55)
07. Basin Street Blues (Live From Carnegie Hall 1949) (3:08)
08. Ow! Introduction Of Ella Fitzgerald (Live From Carnegie Hall 1949) (0:39)
09. Flyin' Home (Live From Carnegie Hall 1949) (5:30)
10. Oh, Lady, Be Good! (Live From Carnegie Hall 1949) (2:52)
11. Black Coffee (Live From Carnegie Hall 1949) (3:41)
12. A-Tisket, A-Tasket (Live From Carnegie Hall 1949) (2:36)
13. How High The Moon (Live From Carnegie Hall 1949) (5:43)
14. Norman Granz Announcement (Live From Carnegie Hall 1949) (0:29)
15. Perdido (Live From Carnegie Hall 1949) (8:37)
16. Bill (Live From Carnegie Hall 1953) (2:55)
17. Why Don't You Do Right (Live From Carnegie Hall 1953) (3:15)
18. A Foggy Day (In London Town) (Live At Bushnell Memorial Hall 1954) (2:46)
19. Lullaby Of Birdland (Live At Bushnell Memorial Hall 1954) (2:23)
20. The Man That Got Away (Live At Bushnell Memorial Hall 1954) (4:39)
21. Hernando's Hideaway (Live At Bushnell Memorial Hall 1954) (3:17)
22. Later (Live At Bushnell Memorial Hall 1954) (2:50)

Complete U.S. JATP Performance Released for First Time with 22 Remastered Tracks

As part of Verve’s 60th Anniversary, the storied imprint is set to release the complete U.S. Jazz at the Philharmonic performances of celebrated vocalist Ella Fitzgerald. This classic material, which has previously been released on various albums, will be released for the first time in one dynamic live set featuring the original 12-track vinyl LP album cover from 1983. The re-mastered 22-track CD and digital audio collection, with an essay by author Will Friedwald, features a wide spectrum of A-list musicians including Hank Jones, Herb Ellis, Ray Brown, Charlie Parker, Lester Young, and more.

Jazz at the Philharmonic: The Ella Fitzgerald Set was recorded through various performances between 1949 and 1954, with all original recordings being supervised by the historic label’s founder and Fitzgerald’s longtime manager, Norman Granz. Highlights include jaw-dropping interpretations of “Old Mother Hubbard,” “Oh, Lady Be Good!,” “Lullaby of Birdland,” and the all-star jam session, “Flying Home.”

In 1944, Granz launched the historic Jazz at the Philharmonic series in Los Angeles, which would last 40 years. In the formative years of JATP, Granz invited the vocal icon to join some of the greatest musicians in the world, following in the JATP tradition of Nat King Cole, Billie Holiday, and Helen Humes. It wasn’t until 1953, when JATP was on tour in Japan that Granz talked to Fitzgerald about managing her career when the singer’s contract with Moe Gale at Associated Booking Corporation ran up at the end of the year. She was hesitant at first, but after telling her that it was a matter of pride, the two joined for a historic partnership that lasted more than four decades. With a soon-to-be-ending contract with Decca, Granz launched Verve and announced Fitzgerald as their inaugural signing while they continued work on the JATP series.

The crown jewel of Jazz at the Philharmonic: The Ella Fitzgerald Set was the September 1949 performance at the famed Carnegie Hall-the engagement provides more than 45-minutes of music for this historic release. Granz opens that performance and this release with a special introduction of “the greatest thing in jazz today,” Ella Fitzgerald. Two other introductions of the illustrious vocalist appear on the box as well-another from Granz, and one from Dizzy Gillespie.

Throughout three heavy-hitting tracks, Fitzgerald receives support from an all-star JATP horn section featuring trumpeter Roy Eldridge, trombonist Tommy Turk, and saxophonists Charlie Parker, Flip Phillips, and Lester Young. “Flying Home” showcases remarkable scatting from Fitzgerald and features a Phillips solo. “How High the Moon” shows a new take on the classic chorus while switching back and forth between horn players, and “Perdido” hands the reins to the brass players for the melody, with each player taking a solo while Fitzgerald replaces the published lyrics with fervent scatting.

Some of the vocalist’s classic tunes appear in this performance as well. She infuses the 1800’s nursery rhyme “Old Mother Hubbard” with modern jazz chord progressions and a number of outside melodies, and also performs her trademark tune, “A-Tisket, A-Tasket.” Fitzgerald visits two soulful ballads as well, including “A New Shade of Blues” and “Black Coffee,” a signature tune for Peggy Lee later on.

Having produced an entire album in homage to Gershwin, it’s fitting that the singer includes two of the venerable pianist’s tunes. “Oh, Lady Be Good!” has a breakneck tempo that also appears on Ella Sings Gershwin, while “Somebody Loves Me” has a snappy up-tempo that did not appear on her previous Gershwin record. Fitzgerald also explores recordings from Sir Charles Thompson (“Robbins Nest”), Duke Ellington (“I’m Just a Lucky So-And-So”), and Spencer Williams (“Basin Street Blues”).

The rest of the release comes from two performances, a year apart, at Bushnell Memorial Hall in Hartford, Connecticut with support from pianist Raymond Tunia, guitarist Herb Ellis, bassist Ray Brown, and drummer J.C. Heard. In 1953, Granz captures two rare songs from Fitzgerald: a moving performance of Jerome Kern’s “Bill,” and a blues-heavy version of Peggy Lee’s tour-de-force “Why Don’t You Do Right.”

The final five tracks were recorded just a year later. The 1954 performances start off with Gershwin’s songbook-standard “A Foggy Day,” and move on to showcase compelling contemporary hits. By the time she performed “Lullaby of Birdland” in Hartford, it had already become a success from a recording made just a few months earlier. A beautiful rendition of “The Man That Got Away” is a calm and deliberate recording, while “Hernando’s Hideaway” contrasts as a comedy and dance number from The Pajama Game with lyrics exclusive to performance (a 1962 recording of this track did not include this one-time chorus). The set closes with “Later,” which elegantly displays Fitzgerald’s seamless blend of R&B, pop, bebop, and swing.

The remarkable relationship between an American jazz impresario and the First Lady of Song stands alone as a historically important release and is equally as crucial to celebrating the 60th Anniversary of Verve. Granz produced many consequential performances, however the dynamic live recordings heard on Jazz at the Philharmonic: The Ella Fitzgerald Set are in a league of their own.

Jazz At The Philharmonic

Dave Anderson - Dave Anderson's Blue Innuendo (Feat. Matt Wilson, Pat Bianchi & Tom Guarna)

Size: 132,1 MB
Time: 57:24
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Hammond Organ
Label: Label 1
Art: Front

01. Urban Dillema (7:53)
02. 22 Doors (6:49)
03. 12-Step Blues (5:24)
04. Parallel Present (5:04)
05. Genealogy (5:29)
06. Stuck (4:35)
07. The Phantom (For Joe Henderson) (4:55)
08. Two-Tone Tune (3:37)
09. Blue Innuendo (For Joey D) (6:40)
10. Redeye (6:54)

Personnel:
Dave Anderson - tenor & soprano saxes
Tom Guarna - guitar
Pat Bianchi - organ
Matt Wilson - drums

Dave Anderson is the tenor (and soprano) man in question. He leads the band through a set of hiply swinging originals on Blue Innuendo (Label 1 2003-2). This is music rooted in the toughness of hard bop, yet fully modern in its tang of the beyond. It is no accident that Dave dedicates one of the numbers to Joe Henderson, for there is some of that sophisticated, hard-driving facility going on here, plus Dave himself showing his own way through nicely.
Dave Anderson sounds great, with plenty to say on both horns and a way of saying it that channels sax soulfulness and a true sense of what matters, yesterday and today.
Pat Bianchi on organ is a model for the extensions of organ bop-soul into now. He makes me smile as he always seems to. Tom Guarna, the guitarist, has a perfect presence in the ensemble and solos with authority. He also in his own way channels bop-and-after giants yet sounds original and contemporary.
Matt Wilson on drums comes through as he ever does as the swinging giant so necessary for the success of this kind of thing.
It's a model for how the organ-band roots can be enacted but with the modern complexities brought to the fore at the same time. A blazer, a hip disk is this! Hear it. ~Republic of Jazz

Dave Anderson's Blue Innuendo

Stacy Sullivan - Stranger In A Dream

Size: 110,5 MB
Time: 46:43
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front & Back

01. Passion/Loving You (3:08)
02. The Surrey With The Fringe On Top (From Oklahoma!) [Live] Oklahoma! Oh, What A Beautiful Mornin' (3:33)
03. Portrait Of Mercer Ellington - Prelude To A Kiss (5:31)
04. Stranger In A Dream (3:55)
05. In A Melancholy Mood (1:16)
06. In The Days Of Our Love (2:26)
07. Portrait Of Marcia Ball (0:46)
08. Treasure Girl I've Got A Crush On You (4:07)
09. Lullaby Of Birdland (2:19)
10. A Delicate Balance (1:32)
11. Melody For Two September In The Rain/Come Away With Me (3:41)
12. Twilight World (3:00)
13. Castles In The Sand (2:14)
14. A Connecticut Yankee My Heart Stood Still (1:41)
15. Very Warm For May All The Things You Are/Waltz No. 10 In B Minor, Op. 69, No. 2 (Arr. J. Weber) (2:59)
16. I'm Beginning To See The Light - It Don't Mean A Thing (If It Ain't Got That Swing) - Jump For Joy (3:20)
17. Piano Jazz Kaleidoscope (1:06)

Winner of the 2015 MAC Award for Outstanding Major Artist, Bistro and Nightlife Award, Stacy Sullivan has appeared in esteemed venues around the world, from The Crazy Coqs in London, the Cafe Carlyle in New York City, Orange County’s Carpenter Center and Catalina’s Jazz Club in California. Her six albums, including her newest recording “Stranger in a Dream-Songs for Marian McPartland,” newly released on Harbinger Records can be heard regularly on Sirius XM Radio, WNYC, and NPR.

Sullivan grew up in Oklahoma, the seventh of eight children in a wildly musical family, where she began performing in venues across the south and midwest at the age of five. Graduating Cum Laude from Tulsa University with her degree in Music, she left home to follow her musical and acting dreams in Los Angeles.

“On the Air,” the show she wrote and performs for Piano Jazz creator, Marian McPartland, caught the eye (and ear) of legendary radio personality and music connoisseur Jonathan Schwartz, who presented it to New York City at WNYC’s “The Greene Space,” which led to a run at The York Theatre in Manhattan and the recording, “Stranger in a Dream.” The Wall Street Journal called it “Cabaret for Thinking People,” and The New York Times raved, “Sullivan transports you to a twilight zone of wistful refl ection that recalls the dreamier side of Peggy Lee.”

Numerous awards, including The MAC Award (2015) for “Major Artist,” The Nightlife Award (2014) for “Best Female Vocalist, The Bistro Award, and The Lamott/Friedman Award for “Best Recording” for “It’s a Good Day—A Tribute to Miss Peggy Lee” give her the opportunity to tour the world with her band, as well as in a duo setting with Piano Jazz host and jazz pianist, Jon Weber.

Now, Sullivan and Weber have rejoined forces with their newest Harbinger Records release, “Stranger in a Dream—Songs for Marian McPartland.” This heartfelt tribute to pianist Marian McPartland captures all the spirit of the legendary pianist and broadcaster.

Stranger In A Dream

Ted Borodofsky & Southern Jazz - Remember The Music

Size: 135,5 MB
Time: 58:05
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Retro Swing
Art: Front

01. All By Myself (3:13)
02. Rosetta (3:03)
03. Ain't Misbehavin' (4:36)
04. It's Only Paper Moon (4:30)
05. Tin Roof Blues (4:17)
06. It Had To Be You (4:40)
07. Who's Sorry Now (3:15)
08. Some Of These Days (4:20)
09. Honeysuckle Rose (3:24)
10. All Of Me (4:03)
11. Am I Blue (3:26)
12. My Melancholy Baby (4:36)
13. The Preacher (4:47)
14. Over The Rainbow (5:50)

The Music was recorded in the Lovett Auditorium Murray State University Aug 1st and 2nd ,2015. Justin Patton engineered, mixed and Mastered the music.Music arranged by Dr. Todd E. Hill.Musicians : Dr. Ted Borodofsky,clarinet. Dr. Todd E. Hill, piano.Andy Brown,guitar.Jim Wall,bass. Dean Hughes,drums. The music on this CD spans a period from 1910 until 1955.Music today has certainly transitioned from these standard tunes but these tunes are well worth the memory..Hope you enjoy.

Remember The Music

Ilisa Juried - Making History

Size: 121,0 MB
Time: 51:36
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Intro - Making History (0:49)
02. My Funny Valentine (4:27)
03. Orange Colored Sky (2:04)
04. Honeysuckle Rose (3:13)
05. Autumn Leaves (3:12)
06. I Only Have Eyes For You (5:25)
07. My Man Don't Love Me (3:02)
08. Strange As It Seems (3:18)
09. The Days Of Wine And Roses (5:46)
10. Stormy Monday (3:24)
11. You Don't Know What Love Is (4:02)
12. Somewhere Over The Rainbow (3:42)
13. How Long Has This Been Going On (4:19)
14. You've Changed (4:44)

Sorry no info.

Making History

Beegie Adair - The Ultimate Playlist

Size: 186,8 MB
Time: 80:06
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Piano Jazz
Art: Front

01. They Didn't Believe Me (3:27)
02. Manhattan (3:38)
03. The Girl From Ipanema (4:10)
04. Have You Met Miss Jones (3:15)
05. You'd Be So Nice To Come Home To (4:24)
06. Don't Get Around Much Anymore (4:28)
07. The Song Is You (3:10)
08. Route 66 (2:54)
09. What's New (4:05)
10. For Once In My Life (3:35)
11. Cheek To Cheek (4:05)
12. The Lady Is A Tramp (3:09)
13. L-O-V-E (2:57)
14. I've Got You Under My Skin (3:14)
15. Chicago That Toddling Town (2:51)
16. You Make Me Feel So Young (3:25)
17. Smile (3:59)
18. Satin Doll (3:44)
19. Georgia On My Mind (3:42)
20. New York, New York (4:08)
21. 's Wonderful (3:15)
22. Over The Rainbow (4:22)

Beegie Adair began taking piano lessons at age five. She continued to study piano throughout college, earning a B.S. in Music Education at Western Kentucky State College (later to become Western Kentucky University) in Bowling Green, Kentucky. During and after college, she played in jazz bands, and spent three years teaching music to children before moving to Nashville, where she became a session musician, working at WSM-TV and Radio. After nine years at the station, she began freelancing studio work, in addition to TV orchestra work. She was rehearsal pianist and utility keyboard on the Johnny Cash Show on ABC from 1969 to 1971. She has many album credits with musicians all around the world, including John Loudermilk, J. J. Cale, Ronnie Milsap and Mickey Newbury. shows with Peggy Lee, Cass Elliot, Dinah Shore, Chet Atkins, Dolly Parton, Carol Burnett, Lucille Ball. She has accompanied such artists as Urbie Green, Nat Adderley, Lew Tabackin, Perry Como, Wayne Newton, Steve Allen and Henry Mancini in concerts.

She and her husband also started a jingle company to write music for commercials. In 1982, she and saxophonist Denis Solee formed the Adair-Solee Quartet, which evolved into the Be-Bop Co-Op, a jazz sextet. She made her first album under her own name, Escape to New York, with a rhythm section consisting of Bob Cranshaw and Gregory Hutchinson.

Adair has recorded and appeared in over 90 recordings (34 of which are recorded with her trio, the Beegie Adair Trio, which consists of bassist Roger Spencer and percussionist Chris Brown), ranging from Cole Porter standards to Frank Sinatra classics to romantic World War II ballads. She has released a six-CD Centennial Composers Collection of tunes by Rodgers, Gershwin, Kern, Ellington, Carmichael and Berlin. Adair cites George Shearing, Bill Evans, Oscar Peterson and Erroll Garner among her influences.

In the late 1980s, Adair hosted Improvised Thoughts, a radio talk/music show on the local NPR affiliate, featuring local and international jazz artists including such musicians as Tony Bennett, Joe Williams, Marian McPartland, Benny Golson and Helen Merrill. She has guested on McPartland's Piano Jazz show twice. In 2002, Adair became a Steinway Artist.

She and her trio continue to play in jazz clubs and festivals around the world and was the top-selling jazz artist in Japan in 2010.[citation needed] Adair made her debut appearance at Birdland, with Monica Ramey in January 2011. They made a second appearance at the jazz venue one year later.

She currently lives in Franklin, Tennessee. Her late husband, Billy, was an associate professor of jazz studies at the Blair School in Vanderbilt University until his death in February 2014. She is a Board & Faculty member of the Nashville Jazz Workshop and performs regularly in Nashville.

The Ultimate Playlist

Take 6 - Believe

Size: 120,6 MB
Time: 51:16
File: MP3 @ 320K/s
Released: 2016
Styles: R&B, Gospel
Art: Front

01. Beautiful Day (2:55)
02. Reset (3:24)
03. You Know You're In Love (Feat. Stevie Wonder) (4:11)
04. When Angels Cry (4:02)
05. Here In L.A (3:09)
06. Walk Away (4:05)
07. Statistic (3:49)
08. You Make Me Happy (3:20)
09. On Your Side (4:46)
10. Keep The Faith (Feat. Dtoxx) (3:39)
11. You're All I Need (3:19)
12. Song For You (3:01)
13. 5 Minutes With God (3:28)
14. When Angels Cry (Acapella) (4:02)

Take 6's first album in four years was fostered in large part by industry veteran Ross Vannelli. The vice-president of the group's new label, Vannelli also had a hand in each song on Believe as a co-writer, arranger, producer, and multi-instrumentalist. Vannelli was so involved with Believe that it could have been credited to Take 7, but it's a Take 6 album through and through, mixing mature R&B and jazz with a little gospel. Three cuts are strictly a cappella. The first two, "Reset" and "You Make Me Happy," are among the most joyous and dazzling songs in the group's catalog, while "When Angels Cry" -- a full backing band version of which also appears here -- is a solemn inspirational. The majority of the material is new and original. One exception is "On Your Side," a ballad that first appeared on Glenn Jones' It's Time, co-written by Jones and Vannelli. The Khristian Dentley-fronted "Statistic" is also something of a throwback with its rhythmic likeness to late-'90s Timbaland, yet no other group of that era sang so convincingly about working to keep a relationship alive. There are several soothing and romantic numbers, including "You Know You're in Love," which includes harmonica from old friend Stevie Wonder, as well as a handful of additional spiritual inclusions, such as "On Your Side" and "5 Minutes with God," the latter written by Diane Warren. ~by Andy Kellman

Believe

Adam Rogers Quintet - Apparition

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 60:35
Size: 138,9 MB
Art: Front

( 8:44)  1. Labyrinth
( 6:40)  2. Tyranny Of Fixed Numbers
( 7:49)  3. Persephone
( 7:59)  4. Continuance
(10:42)  5. The Maya
( 2:59)  6. Appartitions
( 7:27)  7. Amphora
( 8:12)  8. Moment In Time

Kurt Rosenwinkel, Ben Monder, and Liberty Ellman are just a few of the notable modern day guitarists who are making own their marks in technique and ability. Adam Rogers also falls into this category, but the question remains for any artist: how does one distinguish his own identity? Rogers' new release may not sound altogether different from some of the postmodern bop variations, but it is distinct in its balance of both the art of high composition and performance. With chops honed as a sideman on many recording sessions, Rogers' hollowbody fretboard prowess competes with some of the best, but he stands out the most compositionally with detailed, complex, and interesting ideas. This is clearly the trend he's taken on his two previous recordings as a leader Art of the Invisible (2002) and Allegory (2003) so if you're looking for the standard fare, think again. 

Rogers has recorded with a core group of players who all have extensive resumes as both sidemen and leaders. Clarence Penn is a versatile drummer with innate skills; Scott Colley is an in-demand bassist who's performed on numerous recordings; Edward Simon combines a most interesting jazz and Latin feel with a classic style; and Chris Potter's horn prowess speaks for itself. These guys have bonded and cooked together, and Apparitions continues in the same creative flow. The aptly named opening "Labyrinth is packed with sudden twists and turns. Unison sax/guitar lines evolve into defined solo spaces; Rogers leads the way with rapid and intricate notes, prefacing other hearty spots by the sax and drums. "The Maya shows how the group executes the depth of the expert rhythm section. The mood can change quickly from hot tempos to icy moments, as on the dark title piece." Continuance may appease those looking for Wes Montgomery-like grooves, but with added detail, multiple cadence changes, and some incendiary solos from everyone. Two other interesting cuts include "Tyranny of Fixed Numbers, where Rogers shows his lighting-quick skills on a distorted Stratocaster, and its acoustic counterpart, "Moment in Time, where the guitarist explores his steel-string persona.~Mark F.Turner http://www.allaboutjazz.com/apparitions-adam-rogers-criss-cross-review-by-mark-f-turner.php

Personnel: Adam Rogers: guitar; Chris Potter: tenor saxophone; Edward Simon: piano; Scott Colley: double bass; Clarence Penn: drums.

Apparition

Ira Kaspi - You And The Night And The Music

Styles: Jazz, Vocal
Year: 2012
File: MP3@320K/s
Time: 45:00
Size: 103,3 MB
Art: Front

(4:36)  1. Don't Go To Strangers
(6:14)  2. You And The Night And The Music
(3:50)  3. How Do You Keep Up The Light
(4:35)  4. Someday My Prince Will Come
(4:24)  5. The Gentle Rain
(5:06)  6. Call Me Irresponsible
(3:07)  7. The Good Life
(5:07)  8. That Old Devil Called Love
(4:28)  9. In The Wee Small Hours Of The Morning
(3:29) 10. The Best Is Yet To Be Coming

Ira Kaspi is a soft sounding and soulful jazz singer with strong interpretations led by intuition and courage. Ira is influenced by traditional jazz singers like Ella, Sarah and Billie and she is right “at home” performing a standard tune. The other side of her is the songwriter who pours her feelings on lyrics and melodies.http://www.irakaspi.com/?lang=en

Personnel: Ira Kaspi (vocals); Ape Anttila (guitar, percussion); Jussi Kannaste (tenor saxophone); Mikael Jakobsson (piano); Markku Ounaskari (drums).

You And The Night And The Music

Laurent de Wilde - Over The Clouds

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 53:55
Size: 123,8 MB
Art: Front

(7:55)  1. Prelude to a Kiss
(7:35)  2. Over the Clouds
(6:42)  3. Fe Fe Naa Efe
(4:57)  4. Le bon médicament
(6:00)  5. Edward K
(6:23)  6. Some Kinda Blues
(4:16)  7. Irafrica
(6:45)  8. New Nuclear Killer
(3:18)  9. Over the Clouds (Radio Edit)

Dividing his time between the United States and France, Laurent de Wilde has found a welcoming audience in both countries. His third solo album, Open Changes, resulted in de Wilde receiving a Django Reinhardt Award for Best French Musician of 1992. In addition to leading his own group, de Wilde has worked as a session player for Reggie Workman, Ralph Moore, Greg Osby, Joshua Redman, Dee Dee Bridgewater, Aldo Romano, André Ceccarelli, Harold Land, and Tom Harrell. His first four albums featured tenor saxophonist Joe Coleman, drummer Jack DeJohnette, and trumpet player Eddie Henderson. His fifth release, Spoon-a-Rhythm, released in 1997, featured St. Thomas-born drummer Dion Parson and former Miles Davis and Weather Report percussionist Bobby Thomas Jr.. Born in Washington, D.C., de Wilde moved to France before his fifth birthday. After studying philosophy at Ecole Normale Superieure in Paris, he returned to the United States to attend Long Island University. 

While there, he met and befriended pianist Joey Calderazzo. Settling in New York, de Wilde was mentored by such influential pianists as Jim McNeely, Kirk Lightsey, and Mulgrew Miller. A member of Eddie Henderson's band in 1986, he recorded his debut solo album, Off the Boat, the following year. He followed with the impressive solo albums Odd and Blue in 1989 and Colors of Manhattan in 1990. Signing with Sony Jazz France in 1994, he released his fourth album, The Back Burner, in 1995. De Wilde authored a biography of influential jazz pianist Thelonious Monk in 1996, which received a Charles DeLaunay Prize for Best Book on Jazz.~Craig Harris http://www.allmusic.com/artist/laurent-de-wilde-mn0000785373/biography

Personnel:  Laurent de Wilde, piano;  Ira Coleman, bass;  Clarence Penn, drums

Over The Clouds

David Binney - Balance

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 60:13
Size: 142,5 MB
Art: Front

(6:35)  1. Balance
(4:55)  2. Marvin Gaye
(6:49)  3. Arlmyn Trangent
(7:50)  4. I'll Finally Answer
(1:34)  5. Midnight Sevilla
(5:39)  6. Speedy's 9 Is 10
(5:25)  7. We Always Cried
(4:18)  8. Lurker
(4:44)  9. Rincon
(4:18) 10. Fidene
(3:06) 11. Arlmyn Trangent Reliv
(4:54) 12. Perenne

Alto saxophonist David Binney's follow-up to his extraordinary CD South offers a different approach overall while retaining the fresh contemporary style that underlines his status as an innovator and unique voice. Pianist Uri Caine is retained, drummer Jim Black takes over for Brian Blade, tenor saxophonist Donny McCaslin teams with Binney on two tracks, Tim LeFebvre is a new addition on electric bass guitar, and Wayne Krantz is in for Adam Rogers on electric guitar. To Binney, balance is an elusive commodity, and nearly impossible to maintain. His love for the fusion and funk music of the '70s is translated into modern terms and gradations. On the high-end level of complexity, the title track displays repeat themes in varying modes and shifting accented tempos, mixed meters, and a funky underpinning completely slowing on the bridge. The chase is on during "Speedy's 9 Is 10" with Binney and McCaslin in hot pursuit, interrupted by the steel guitar of Rogers during his lone cameo appearance on the CD with bassist Fima Ephron. A wild dissected funk delivered by Black during "Fidene" is shaded by creature-feature and groping electronic sounds. There are a few soul ballads that frame Binney's tart alto better than the larger group pieces, and Caine's pretty piano is also showcased in "We Always Cried" and "Perenne." An expanded ensemble with guest Peck Almond elicits clarion calls in 10/8 time during the short "Midnight Sevilla," and there are two takes of the fun and funky "Arlmyn Trangent," again with the wonderful McCaslin. Black is a constant source of rhythmic drive and inventiveness, giving Binney a large palette to paint broad color strokes. While not as vital as South, Balance is a worthy addition to the discography of one of the top performers in modern progressive jazz.~Michael G.Nastos http://www.allmusic.com/album/balance-mw0000998909

Personnel:  Alto Saxophone – Jon Haffner (tracks: 1);  Alto Saxophone, Tenor Saxophone – David Binney;  Bass – Fima Ephron (tracks: 6, 11), Tim Lefebvre;  Brass – Peck Almond;  Drums – Jim Black;  Guitar – Adam Rogers (2) (tracks: 6,12), Wayne Krantz;  Piano, Synthesizer – Uri Caine;  Sounds [Broom] – Kenny Wollesen (tracks: 12);  Tenor Saxophone – Donny McCaslin (tracks: 5,6,8,9);  Vocals – Tanya Henri

Balance

Monday, April 11, 2016

Peggy Lee - Let's Do It

Styles: Vocal Jazz
Year: 1997
File: MP3@320K/s
Time: 58:46
Size: 135,8 MB
Art: Front

(2:51)  1. Elmer's Tune
(3:08)  2. My Old Flame
(3:20)  3. How Deep Is The Ocean?
(3:10)  4. That's The Way It Goes
(3:00)  5. I Threw A Kiss In The Ocean
(3:16)  6. I Got It Bad And That Ain't Good
(2:46)  7. Shady Lady Bird
(2:02)  8. Let's Do It
(3:09)  9. Somebody Else It Taking My Place
(3:17) 10. We'll Meet Again
(2:10) 11. Full Moon
(3:22) 12. All I Need Is You
(3:13) 13. Why Don't You Do Right?
(3:22) 14. Not A Care In The World
(3:16) 15. How Long Has It Been Going On?
(2:30) 16. That Did It Marie
(3:17) 17. Not Mine
(2:17) 18. These Foolish Things (Remind Me Of You)
(2:11) 19. The Lady Is A Tramp
(3:01) 20. Winter Weather

Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era, from her breakthrough on the Benny Goodman hit "Why Don't You Do Right" to her many solo successes, singles including "Mañana," "Lover" and "Fever" that showed her bewitching vocal power, a balance between sultry swing and impeccable musicianship. Born Norma Egstrom in Jamestown, North Dakota, she suffered the death of her mother at the age of four and endured a difficult stepmother after her father remarried. Given her sense of swing by listening to Count Basie on the radio, she taught herself to sing and made her radio debut at the age of 14. She made the jump to Fargo (where she was christened Peggy Lee), then to Minneapolis and St. Louis to sing with a regional band. Lee twice journeyed to Hollywood to make her fortune, but returned unsuccessful from both trips. She finally got her big break in 1941, when a vocal group she worked with began appearing at a club in Chicago. While there, she was heard by Benny Goodman, whose regular vocalist Helen Forrest was about to leave his band. Lee recorded with Goodman just a few days later, debuting with the popular "Elmer's Tune" despite a good deal of nerves. That same year, several songs became commercial successes including "I Got It Bad (And That Ain't Good)" and "Winter Weather." In 1943, "Why Don't You Do Right" became her first major hit, but she left the Goodman band (and the music industry altogether) later that year after marrying Goodman's guitarist, Dave Barbour. After just over a year of domestic life, Peggy Lee returned to music, first as part of an all-star jazz album. Then, in late 1945, Capitol signed her to a solo contract and she hit the charts with her first shot, "Waitin' for the Train to Come In." Lee continued to score during the late '40s, with over two dozen chart entries before the end of the decade, including "It's a Good Day," "Mañana (Is Soon Enough for Me)" the most popular song of 1948 and "I Don't Know Enough About You." Many of her singles were done in conjunction with Barbour, her frequent writing and recording partner.

After moving to Decca in 1952, Peggy Lee scored with the single "Lover" and an LP, Songs From Pete Kelly's Blues recorded with Ella Fitzgerald (both singers also made appearances in the film). She spent only five years at Decca however, before moving back to Capitol. There, she distinguished herself through recording a wide variety of material, including songs -- and occasionally, entire LPs  influenced by the blues, Latin and cabaret as well as pop. Lee also used many different settings, like an orchestra conducted by none other than Frank Sinatra for 1957's The Man I Love, the George Shearing Quintet for 1959's live appearance Beauty and the Beat, Quincey Jones as arranger and conductor for 1961's If You Go, and arrangements by Benny Carter on 1963's Mink Jazz. Barbour's problems with alcoholism ended their marriage, though they remained good friends until his death in 1965.

Peggy Lee was an early advocate of rock and made a quick transition into rock-oriented material. Given her depth and open mind for great songs no matter the source, it wasn't much of a surprise that she sounded quite comfortable covering the more song-oriented end of late-'60s rock, including great choices by Jimmy Webb, Buffy Sainte-Marie, Burt Bacharach, Randy Newman, Goffin & King and John Sebastian. She nearly brushed the Top Ten in 1969 with Leiber & Stoller's "Is That All There Is?" She continued recording contemporary material until 1972's Norma Deloris Egstrom From Jamestown, North Dakota brought her back to her roots. It was her last LP for Capitol, however. Lee recorded single LPs for Atlantic, A&M, Polydor UK and DRG before effectively retiring at the beginning of the 1980s. She returned in 1988 with two LPs for Music Masters that revisited her earlier successes. Her last album, Moments Like This, was recorded in 1992 for Chesky. Her voice was effectively silenced after a 1998 stroke, and she died of a heart attack at her Bel Air home in early 2002.~John Bush http://www.allmusic.com/artist/peggy-lee-mn0000256349/biography

Let's Do It

Clarence Penn - Dali in Cobble Hill

Styles: Post-Bop, Straight-Ahead Jazz
Year: 2012
File: MP3@320K/s
Time: 66:06
Size: 152,0 MB
Art: Front

(7:10)  1. The B 61
(5:34)  2. Cobble Hill
(7:49)  3. A Walk on the B-H-P
(6:12)  4. Dali
(7:02)  5. I Hear Music
(6:46)  6. Mr. C
(6:00)  7. Persistence of Memory
(7:01)  8. My Romance
(6:06)  9. Solato's Morning Blues
(6:21) 10. Zoom Zoom

Clarence Penn's 2012 album, Dali in Cobble Hill, is a rhythmically and harmonically varied date conceptualized around the fanciful notion of painter Salvador Dali taking a walk through Penn's Brooklyn neighborhood. Penn evokes the disjointed surrealism of Dali with some original compositions that include several propulsive, high-energy cuts, as well as a few more sparse, atmospheric, and stream-of-consciousness arrangements. Adding to the high level of craft exhibited on Dali in Cobble Hill is Penn's choice of sidemen here: saxophonist Chris Potter, guitarist Adam Rogers, and bassist Ben Street. The rounded tone of Rogers' amplified guitar set against Potter's bright but full-sounding tenor sax helps give the ensemble a unified sound out front, while Penn and Street fill in the layers underneath them. 

To these ends, the band flies through the frenetic Afro-Cuban/drum'n'bass-inflected "The B 6 1 "; floats together through the languid atmosphere of "A Walk on the B-H-P," and spars jauntily over the midtempo swing of "Solato's Morning Blues." Penn is one of the most accomplished and in-demand sideman of his generation, and it’s always a joy to hear him leading his own ensemble. These are adroit, fluid, and virtuosic post-bop tracks that should appeal to fans of the cerebral, adventurous jazz that just skirts the avant-garde while remaining firmly grounded in the straight-ahead jazz tradition.~Matt Collar http://www.allmusic.com/album/dali-in-cobble-hill-mw0002409319

Personnel: Clarence Penn (drums, percussion); Adam Rogers (guitar); Chris Potter (bass clarinet, soprano saxophone, tenor saxophone).

Dali in Cobble Hill

Sonny Rollins - Tour De Force

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 41:56
Size: 96,3 MB
Art: Front

(6:56)  1. Ee-Ah
(9:13)  2. B. Quick
(7:41)  3. Two Different Worlds
(5:18)  4. B. Swift
(4:23)  5. My Ideal
(8:22)  6. Sonny Boy

A better purchase than Sonny Boy (OJC 348) which has four of this set's six numbers plus "The House I Live In" from an earlier date. None of the Sonny Rollins' originals (which include "B. Swift," "B. Quick" and "Ee-Ah") on this release caught on. With pianist Kenny Drew, bassist George Morrow and drummer Max Roach completing the quartet, Rollins was in consistently creative form during this prime period but the overall set is not as classic as most of the tenor's other recordings from the 1950s.~Scott Yanow http://www.allmusic.com/album/tour-de-force-mw0000654776

Personnel: Sonny Rollins (tenor saxophone); Earl Coleman (vocals); Kenny Drew (piano); George Morrow (bass); Max Roach (drums).

Tour De Force

David Linx - Rock My boat

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 53:12
Size: 122,5 MB
Art: Front

(5:01)  1. Rock My Boat
(5:09)  2. I Never Went Away
(3:13)  3. Just Give Me Time
(5:57)  4. Letter To My Son/Aos Nossos Filhos
(4:52)  5. Childhood
(2:06)  6. Foolkiller
(5:22)  7. Northern Star
(4:01)  8. Where Rivers Join
(5:14)  9. A Quiet Place
(5:41) 10. Even Make It Up
(2:48) 11. Yesternow
(3:42) 12. On The Other Side

Belgian vocalist David Linx is to jazz what Rufus Wainwright is to pop, a chameleonic avant-gardist of the first order. Though Linx has been recording since the mid-1980s, a survey of just his 2010 projectsthe richly imaginative tribute Follow Jon Hendricks… If You Can, with Michele Hendricks and the French singer-songwriter André Minvielle; the clever quasi-travelogue Follow the Songlines, with Portuguese vocalist Maria João; and One Heart, Three Voices, a magnificent summit with Dutch vocalist Fay Claassen and pianist Diederik Wissels is enough to illustrate his remarkable dexterity. Throughout Rock My Boat, featuring Rhoda Scott on Hammond B3 and André Ceccarelli on drums, Linx’s adventurous eclecticism continues unabated. At various points, Linx suggests Kurt Elling channeling Jimmy Scott and Allen Ginsberg by way of Smokey Robinson, with shades of Hendricks and George Benson. Half of the dozen tracks are given over to a wide-ranging assortment of covers, extending from the hushed glory of Christian music pioneer Ralph Carmichael’s “A Quiet Place” and a bruised, bilingual exploration of Ivan Lins’ “Aos Nossos Filhos,” to a coolly swinging reading of Mose Allison’s “Foolkiller” and an arresting treatment of Miles Davis’ “Yesternow,” fitted to a Tejan Karefa poem, that suggests a lost, smoke-filled night at San Francisco’s City Lights bookstore. 

The six originals are equally heterogeneous. There’s the rollicking Carnaby Street-esque title track, the sweet innocence of “Childhood,” the stealthily romantic “Where Rivers Join,” the joyful, fresh-from-Sunday-service closer, “On the Other Side,” and, most arresting, the swirling carnival of “Even Make It Up.”~Christopher Loudon http://jazztimes.com/articles/29194-rock-my-boat-david-linx

Personnel: David Linx (vocals); André Ceccarelli (drums); Rhoda Scott (Hammond b-3 organ).

Rock My boat

Sunday, April 10, 2016

Sarah Vaughan - How Long Has This Been Going On?

Styles: Vocal Jazz
Year: 1978
File: MP3@320K/s
Time: 49:00
Size: 157,3 MB
Art: Front

(5:38)  1. I've Got the World on a String
(4:40)  2. Midnight Sun
(6:03)  3. How Long Has This Been Going On?
(5:10)  4. You're Blase
(4:40)  5. Easy Living
(6:46)  6. More Than You Know
(6:14)  7. My Old Flame
(3:06)  8. Teach Me Tonight
(3:43)  9. Body and Soul
(2:54) 10. When Your Lover Has Gone

This set features the great Sarah Vaughan in a typically spontaneous Norman Granz production for Pablo with pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Louie Bellson. Sassy sounds wonderful stretching out on such songs as "Midnight Sun," "More Than You Know," "Teach Me Tonight," and "Body and Soul," among others. All ten of the melodies are veteran standards that she knew backwards but still greeted with enthusiasm. A very good example of late-period Sarah Vaughan.~Scott Yanow http://www.allmusic.com/album/how-long-has-this-been-going-on-mw0000032467

Personnel: Sarah Vaughan (vocals); Oscar Peterson (piano); Joe Pass (guitar); Ray Brown (bass); Louis Bellson (drums).

How Long Has This Been Going On?

David Linx, Maria João & Brussels Jazz Orchestra - A Different Porgy & Another Bess

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 72:24
Size: 166,2 MB
Art: Front

(7:06)  1. A red-headed woman
(4:59)  2. A woman is a sometime thing
(6:00)  3. I love you, Porgy
(7:16)  4. Buzzard song
(8:09)  5. My man is gone now
(6:32)  6. Oh Lord, I'm on my way
(6:53)  7. Clara, Clara, don't be downhearted
(5:48)  8. Bess you are my woman now
(7:04)  9. Oh, doctor Jesus
(7:04) 10. I've got plenty of nothing
(5:28) 11. Summertime

The French classical label Naive has made a successful foray into jazz with recordings like Mina Agossi's Red Eyes (2012); and Tania Maria's Tempo (2012). A Different Porgy and Another Bess is the first thematic big-band offering from the label. Drawing from the George Gershwin/DuBose Heyward opera, Porgy and Bess (1935), A Different Porgy highlights eleven vocal pieces from the book. The music performed by the Brussels Jazz Orchestra, under the direction Frank Vaganee, features David Linx in the role of Porgy and Maria Joao as Bess. The arrangements are bright and progressive, courtesy of a wide swath of people in and outside the band. A portion of the eleven pieces chosen for recital are expected. "I Love You Porgy," "My Man is Gone Now," "I Got Plenty of Nothing" and "Summertime" are all present and accounted for. But there are also Lesser-heard songs here: "A Red-Headed Woman," "Oh Lord, I'm On My Way" and "Oh, Dr. Jesus" are included to great effect in breaking up preconceptions and expectations that might cloud a Porgy and Bess-based disc. That said, there is actually no danger in this simply being one more interpretation of an over-interpreted collection of songs; the songs' arrangers and the Brussels Jazz Orchestra see to that.

A first listen sounds like a wild ride in one of those hover-cars from Luc Besson's 1997 film, The Fifth Element. Songs that should be familiar sound about as foreign as they possibly can: think playing "The Maple Leaf Rag" backwards in the Star Wars (1977) bar scene. Well, maybe not that jarring, but certainly provocative. Subsequent listens bear out the relationships of these songs with those Gershwin penned. This is where the invention of arrangement and free spirit benefit the old book, making it new again. This, coupled with a crack and very big band, makes A Different Porgy and Another Bess a valuable contribution to understanding the evolution of jazz.~C.Michael Bailey http://www.allaboutjazz.com/a-different-porgy-and-another-bess-david-linx-naive-review-by-c-michael-bailey.php
 
Personnel: David Linx: vocals; Maria Joao: vocals; Frank Vaganee: artistic director, lead alto and soprano saxophones, flute; Dieter Limbourg: alto and soprano saxophones, clarinet, flute; Kurk Van Herck: tenor saxophone, flute, clarinet; Bart Defoort: tenor saxophone, clarinet; Bo Van Der Werf: baritone saxophone; bass clarinet; Serge Plume: lead trumpet, flugelhorn; Nico Schepers: trumpet, flugelhorn; Pierre Drevet: trumpet, flugelhorn; Jeroen Van Malderen: trumpet, flugelhorn; Marc Godfroid: lead trombone; Lode Mertens: trombone; Ben Fleerakkers: trombone; Laurent Hendrick: bass trombone; Hendrick Braeckman: guitar; Nathalie Loriers: piano, Fender Rhodes; Jos Machtel: double bass; Martijn Vink: drums; Chris Joris: congas; Carlo Willems: glockenspiel, tam tam gong.

A Different Porgy & Another Bess

George Coleman - Amsterdam After Dark

Styles: Saxophone Jazz
Year: 1979
File: MP3@320K/s
Time: 44:52
Size: 103,5 MB
Art: Front

( 8:29)  1. Amsterdam After Dark
( 7:21)  2. New Arrival
( 4:58)  3. Lo-Joe
(10:17)  4. Autumn In New York
( 7:54)  5. Apache Dance
( 5:50)  6. Blondie's Waltz

Legendary tenor saxophonist blows up a storm with the Hilton Ruiz Trio. This has been reissued on CD. Best cut is "New Arrival." ~ Michael G. Nastos, Rovi

George Coleman's highest visibility occurred when he was a member of the Miles Davis Quintet (1963-1964), playing alongside Davis, Herbie Hancock, Ron Carter, and Tony Williams. His decision to leave the group after several notable recordings cut short his potential fame (his eventual replacement was Wayne Shorter), but Coleman has created a great deal of rewarding music since. Part of the rich Memphis jazz scene of the early '50s, he started playing in blues bands in the South (including with B.B. King in 1952 and 1955-1956). He moved to Chicago in 1957 (where he played with the MJT+3), and to New York the following year. Coleman was with the Max Roach Quintet (1958-1959), Slide Hampton's octet (1959-1961), and Wild Bill Davis (1962), before joining Davis. Following that association, he was with Lionel Hampton, Elvin Jones, and Charles McPherson. Since the mid-'70s, George Coleman has mostly led his own groups, and has recorded both as a leader (for Timeless, Theresa, and Verve) and as a sideman quite frequently; one of his more notable appearances from earlier years was on Herbie Hancock's 1964 classic Maiden Voyage. ~ Scott Yanow https://itunes.apple.com/us/artist/george-coleman/id4833395#fullText

Personnel: George Coleman (tenor saxophone); Hilton Ruiz (piano); Billy Higgins (drums).

Amsterdam After Dark

The John Webber Quartet - Down for the Count

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 64:42
Size: 156,7 MB
Art: Front

( 5:26)  1. Look Love Away
( 5:14)  2. Down for the Count
( 5:44)  3. Lulu's Hope
( 6:33)  4. The Thrill Is Gone
( 8:00)  5. This Love of Mine
( 9:40)  6. Big G Blues
( 6:58)  7. Twilight in Seville
( 6:45)  8. Minor March
(10:17)  9. Make Someone Happy

Recorded live before a studio audience at New York City s Unity Center, Down for the Count, named for an actual Italian Count and Bologna benefactor to many in NYC s straight-ahead jazz scene, fulfills the expectations of the bandleader; I got the guys I was comfortable working with, because I know that with them, it s always going to be swinging. And swing it does! Featuring a mixed program of originals: Lulu s Lope (named for Webber s daughter), Twilight in Seville (reflective of the guitarist s time spent listening to Andrés Segovia and one of the few pieces contained here in which Webber lays down a beautiful chordal introduction utilizing Spanish harmony or was the true inspiration behind the tune a night spent in a Spanish Bodega while on tour when, after buying drinks for the local musicians, Webber found himself down for the count when the sunrise rolled in) and Minor March; George Coleman s blues line Big G Blues; and obscure jazz standards that Webber has creatively reimagined and arranged, Down for the Count is a loose, swinging affair. Clear communicative phrasing, effervescent rhythmic interplay, complete mastery of the jazz language and a bright Gibson ES-330 tone (Grant Green s 1960s guitar of choice) that soars hornlike above the blue chip rhythm section of Mabern, Farnsworth and Nat Reeves (a veteran of the bands of Jackie MacLean and Mabern and, as evidenced by the tremendous synchronization between bass and drums, a long time musical running mate of drummer Farnsworth), all coalesce to, as the title of the final tune trumpets (a favourite of Coleman s and a song which this rhythm section with Webber on bass perform regularly in Big G s band) Make Someone Happy. This recording does just that.~Editorial Reviews http://www.amazon.com/Down-Count-John-Webber-Quartet/dp/B00L4X49A4

Personnel: John Webber (guitar); Harold Mabern (piano); Nat Reeves (acoustic bass); Joe Farnsworth (drums).

Down for the Count