Spike Robinson - London Reprise

Styles: Saxophone Jazz
Year: 1984
File: MP3@320K/s
Time: 43:56
Size: 101,3 MB
Art: Front

(3:33)  1. A Foggy Day In London Town
(3:32)  2. When Day Is Done
(8:14)  3. Embraceable You
(5:37)  4. There Is No Greater Love
(6:56)  5. Somewhere Over The Rainbow
(5:31)  6. As Time Goes By
(4:44)  7. Laura
(5:45)  8. Opus D 'Funk

Spike Robinson's return to the jazz scene in the early '80s late in his 34-year period as an engineer (during which he only worked part-time as a musician) was a welcome event. His cool tone (very much in the "Four Brothers" tradition of Stan Getz and Zoot Sims) was fully formed, and he could swing as hard as any of the younger players. For this Capri set, Robinson is teamed in London with guitarist Martin Taylor, bassist Dave Green and drummer Spike Wells for mostly concise renditions of eight veteran standards; only Horace Silver's "Opus De Funk" was written after the swing era. Pleasing music that has not yet been reissued on CD.~Scott Yanow http://www.allmusic.com/album/london-reprise-mw0000785250

Personnel: Spike Robinson (tenor saxophone); Martin Taylor (guitar); Dave Green (bass instrument).

London Reprise

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Chet Baker & Art Pepper - The Route

Styles: Trumpet And Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 53:08
Size: 122,0 MB
Art: Front

(6:20)  1. Tynan Time
(5:06)  2. The Route
(3:58)  3. Sonny Boy
(7:15)  4. Minor Yours
(4:18)  5. Little Girl
(5:30)  6. Ol' Croix
(4:11)  7. I Can't Give You Anything But Love
(4:19)  8. The Great Lie
(3:12)  9. Sweet Lorraine
(4:21) 10. If I Should Lose You
(4:32) 11. Younger Than Springtime [#]

This 1989 CD issue compiles all known sides cut during a July 26, 1956, session led by Chet Baker (trumpet) and Art Pepper (alto sax). Keen-eyed enthusiasts will note that this particular date occurred during a remarkable week July 23 through July 31of sessions held at the behest of Pacific Jazz label owner and session producer Dick Bock at the Forum Theater in Los Angeles. The recordings made during this week not only inform The Route, but three other long-players as well: Lets Get Lost (The Best of Chet Baker Sings), Chet Baker and Crew, and Chet Baker Quintet at the Forum Theatre. Likewise, these were the first sides cut by Baker since returning from his triumphant and extended stay in Europe. The Route compiles all 11 tracks by the sextet featuring Richie Kamuca (tenor sax), Pete Jolly (piano), Leroy Vinnegar (bass), and Stan Levey (drums) in support of Baker and Pepper. Bock had no immediate plans to use these recordings for any one album; that is to say he incorporated the tracks throughout various compilations released on Pacific Jazz. 

Three months later, however, Baker and Pepper did record with completely different personnel for the expressed purpose of issuing what would become known as Playboys and alternately Picture of Heath. Perhaps encouraged by the swinging interaction on Pepper's "Tynan Time" and "Minor Yours," both tracks were featured at this session as well as during the Picture of Heath collaboration. There are a few unexpected moments of sheer brilliance spread throughout, such as the Baker-penned title track, which contains supple and nicely contrasting solos from Kamuca and Vinnegar whose solid pendulum accuracy swings all through this collection. The Route is recommended for completists as well as curious consumers wishing to expand their knowledge of the light and airy rhythms that typify the cool West Coast jazz scene of the mid-'50s.~Lindsay Planer http://www.allmusic.com/album/the-route-mw0000201940

Personnel: Chet Baker (trumpet); Art Pepper (alto saxophone); Richie Kamuca (tenor saxophone); Pete Jolly (piano); Leroy Vinnegar (bass); Stan Levey (drums).

The Route

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Larry Young Trio - Testifying / Young Blues / Groove Street / Forrest Fire

Size: 181,8+182,9 MB
Time: 78:27+79:03
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Hammond Organ
Art: Front

CD 1:
Testifying:
01. Testifying (9:52)
02. When I Grow Too Old To Dream (5:14)
03. Exercise For Chihuahuas (7:33)
04. Falling In Love With Love (5:03)
05. Some Thorny Blues (6:18)
06. Wee Dot (7:03)
07. Flamingo (5:22)

Young Blues:
08. Young Blues (6:24)
09. A Midnight Angel (2:20)
10. Little White Lies (4:11)
11. Minor Dream (5:01)
12. Something New, Something Blue (7:22)
13. Nica's Dream (6:37)

CD 2:
Young Blues:
01. African Blues ( 4:51)

Groove Street:
02. Groove Street ( 4:52)
03. I Found A New Baby ( 5:23)
04. Sweet Lorraine ( 9:25)
05. Gettin' Into It (14:22)
06. Talkin' 'bout J.C ( 5:54)

Forrest Fire:
07. Remember ( 5:27)
08. Dexter's Deck ( 6:35)
09. Jim's Jams ( 8:55)
10. Bags' Groove ( 8:25)
11. Help! ( 4:49)

"I want to get into something really deep on the organ." Larry Young, 1960.

Like Hank Mobley and Grant Green, Larry Young never really received the widespread recognition he deserved from jazz fans. Known only to a relatively small number of jazz fans but well known and respected by musicians he struggled for recognition throughout his career. He played a string of one-night tours with Lou Donaldson, B.B. King, Arnett Cobb, and others before he recorded these albums. He went on to play with John McLaughlin ("Devotion"), Tony Williams (Lifetime), and Miles Davis ("Bitches Brew") to good acclaim. He also recorded for the Blue Note label under his own name and as a sideman on other Blue Note albums--including Grant Green. So in advance of the "new" release of Young's live recordings from France ("Complete ORTF..."), and because this great collection of his early albums has never been reviewed, I thought I'd alert jazz fans to this fine (79 + and 79 + minutes each disc) set. The remastered sound is clean and fairy crisp and clean. The 18 page booklet has complete recording information, a short essay on Young, the original complete liner notes from all the albums, and the album covers.

The first album, "Testifyin'" (1960) is Young-organ, Thornel Schwartz-guitar, and Jimmie Smith-drums. Joe Holiday plays tenor sax on two tunes--listen to the beautiful "Flamingo" for a good dose of his playing. The album is a combination of Young's tunes and standards like "When I Grow Too Old to Dream", "Falling In Love With Love", "Wee Dot", and others. Recorded by Rudy Van Gelder (like every album here), the sound is clean, open, and warm--reminiscent of his Blue Note work. This is "soul-jazz" of the period. Young had yet to formulate his own style, but he's no Jimmy Smith copyist. Young was influenced by McCoy Tyner, Monk, Red Garland, Bud Powell, Art Tatum, and Tommy Flanagan, and was only 20 years old when he recorded these albums. This first album sets the tone for some fine playing by both Young and Schwartz, along with Smith, whose drumming fits in well with the group.

The album "Young Blues" (1960), is a quartet with Young,Schwartz, Smith, and Wendell Marshall-bass. The swinging title track (with some good guitar) and two others are by Young. Also here is a Ray Draper tune, the beautiful "Minor Dream", along with Horace Silver's "Nica's Dream" (sticking very close to Silver's version), and a few others that give both Young and Schwartz a chance to blow some good swinging blues things. This is more groovy, soulful, swinging sounds similar to the first album--a good thing if you're into this type of music. Nothing innovative yet as far as Young's playing--just another set of great music.

"Groovin' Street"(1962), is another quartet with Young, Schwartz, Smith, and Bill Leslie on tenor sax. Included are the title track and two others by Young--one tune--"Gettin' Into It", is 14 + minutes of pure groove. Also here is his "Talkin' 'Bout J. C.", which is another fine tune with much to recommend it. Young's sound is just beginning to acquire some strength but he's not yet taken the leap he would later with his instrument. Schwartz is typically fine whether he's soloing or comping behind Young's organ. Leslie adds some nice depth with his deep tone on sax--listen to his solo on "Gettin' Into It". Nonetheless this is another good set of jazz that has much good playing for fans of jazz organ from this period. To cap off this collection there's five tracks from the album "Forrest Fire", under tenor sax blower Jimmy Forrest. The group is (again) Young, Schwartz, Smith, and the hard blowing Forrest. Included is "Remember" (Irving Berlin), "Dexter's Deck" (Dexter Gordon), "Jim's Jam" (J. Forrest), "Bag's Groove" (Milt Jackson), and "Help!" (bassist Doug Watkins), all which show Forrest's bluesy, sometimes gut-bucket blowing style, along with Young adding some good organ along with Schwartz' guitar. This is a good example of the type of sax/organ groups popular during this period, and Young--even at a young age--was able to show how good his chops were in this style.

If you're a fan of organ/guitar or organ/sax groups, and/or you're a fan of very early Jimmy Smith (his Blue Note stuff), this collection of Young's early albums should move nearer to the top of your "to buy" list. Give this a real listen--without distractions--and you'll hear some fine playing. ~Stuart Jefferson

Testifying/Young Blues/Groove Street/Forrest Fire CD 1
Testifying/Young Blues/Groove Street/Forrest Fire CD 2

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Kathleen Holeman - Live At Corbin Theater

Size: 162,0 MB
Time: 69:27
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Blues Vocals
Art: Front

01. I've Got The World On A String (Live) (3:38)
02. Black Coffee (Live) (6:51)
03. Midnight Sun (Live) (7:16)
04. Almost Like Being In Love (Live) (4:40)
05. You Must Believe In Spring (Live) (4:20)
06. Since I Fell For You (Live) (6:44)
07. It's Alright With Me (Live) (5:22)
08. Skylark (Live) (5:17)
09. Stormy Monday (Live) (8:30)
10. I Didn't Know What Time It Was (Live) (4:12)
11. Detour Ahead (Live) (5:47)
12. Bye Bye Blackbird (Live) (6:45)

Holeman is known for performing with artists all over the Midwest and South. Locally she has performed with the Kansas City Jazz Orchestra. She currently co-directs the St. Joseph Big Band and leads smaller combos in clubs, restaurants and private venues. She has been a judge at several jazz competitions, including the Iowa Vocal Jazz Championship. She’s also the director of vocal jazz and jazz piano at Missouri Western State University.

Her band will include guitarist Rod Fleeman, who developed a love for jazz while a freshman at Southwest High School in Kansas City. After high school Fleeman attended the University of Utah and studied jazz guitar under Dr. William Fowler. Fleeman has taught jazz guitar at Missouri Western State College and is currently on staff at the University of Missouri-Kansas City.

Al Wiley has played the drums for more than 50 years. He’s entertained at the Kansas City Jazz Festival, the 18th and Vine Festival, Parkville Day’s Jazz Festival and more. He also subs at the Kansas City Symphony from time to time.

James Albright will play bass. Originally from Nebraska, he came to Kansas City in 1992. He plays classical bass and serves as principal with the Northland Symphony and Liberty Symphony. He teaches bass at his private studio and at William Jewell College.

Walter Bryant will play keyboards. His Northland connections include serving as musical director for Worlds of Fun. He also serves as music director at Platte Woods United Methodist Church.

Doug Talley plays reeds. He is an Elmer saxophone artist and clinician who has performed with jazz legends. He’s recorded with the Kansas City Jazz Orchestra and his own works.

Live At Corbin Theater

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Didier Verna

Size: 105,6 MB
Time: 45:25
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz
Art: Front

01. Corrido (3:56)
02. Printemptation (4:03)
03. Les Maleties (4:43)
04. Song For L (6:38)
05. Offset Blues (4:14)
06. Paris Nice (6:44)
07. The Hunt (7:41)
08. Mururoa (4:11)
09. Fresco (3:12)

Born in 1970, Didier Verna gets quickly involved in music, since he enters conservatory at the age of 5 and studies music theory for 2 years. At the age of 7, he starts learning classical percussions while continuing his theoretical studies; an opportunity for him to discover group playing and enjoy his first on-stage experiences. From this first instrumental contact with music, he will keep a sense and love for rhythm that can be heard very clearly in his playing, whether in composition or in improvisation.

At the age of 9, bored with playing without interruption the « Bolero de Ravel » on a plastic pad in order not to upset the neighborhood, he decides to try classical piano, which he will be practising for 2 years. Despite the desperate efforts of his teacher to interest him in the exclusive and daily practise of the major scale in all possible keys, he decides to change instrument, and tries classical guitar at the age of 11.

While he likes the instrument itself, he hardly feels any interest for the repertoire, most notably given the fact that as a music listener, he is a fan of Trust, Scorpion, AC/DC, Iron Maiden and other hard rock bands whose sound he completely fails to reproduce with nylon strings. He then turns to another teacher and another, younger, guitar repertoire, and at the age of 13, he discovers the richness and complexity of Marcel Dadi's picking, along with a whole folk and blues world that he starts to like. His relationship with the guitar also tightens at that time.

His encounter, 2 years later, with French guitarist Denis Gouzil marks a decisive orientation in his musical career: he discovers Jazz with him and gets instantly passionate for this music and its improvised aspects in particular. This encounter, taking place on the guitar, seals once and for all his link to this instrument.

He studies Jazz harmony and improvisation for 3 years, and at the age of 18, starts playing in Bordeaux in various bands, like a guitar octet with Denis Gouzil and Yves Carbonne (Compagnie Lubat, Carbonne / diPiazza / Manring).

Since he moved to Paris in order to continue his scientific studies at the age of 21, Didier Verna attempts to maintain both his careers as an assistant professor in computer science and as a musician. He hence continues his Jazz formation as a self-taught, multiplying musical experiences both in bands (from trio to septet, or even in a guitar sextet with a rhythm section) and in styles (jazz rock, modern jazz, brazilian...). Meanwhile, he develops a vocal jazz technique very much inspired from the work of Bobby Mc Ferrin and begins giving voice solo sessions.

In 2001, he meets pianist Thierry Lalo and creates with him a piano / vocal duet, an adaptation and extension of his solo vocal work to a total improvisation duel.

In 2002, he enters the Voice Messengers where he sings as a tenor, and meets great personalities of contemporary Jazz, such as Antoine Hervé and Glenn Ferris.

In 2006, he gets back to his main instrument and creates the @-quartet, a band that he equips with a repertoire of original compositions and with which he has released two albums.

@-Quartet

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Trudy Kerr - The House

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

01. The House (3:37)
02. Song Of Life (3:30)
03. Counting Sheep (5:05)
04. Waltz For Debby (5:22)
05. The Other Man's Grass Is Always Greener (4:58)
06. Pretty Little Dancer (3:49)
07. Infant Eyes (5:13)
08. Forever Green (3:36)
09. Hold Back The Tears (4:08)
10. Life In A Bubble (5:16)
11. I Have Dreamed (3:43)
12. Crystal Silence (5:24)
13. How Can I Miss You (4:11)

'The House' is Trudy Kerr's 13th album on her Jazzizit Label. The album is a collaboration between Trudy and pianist Andrea Vicari. For the past few years they have been performing duo gigs around London and on hearing Andrea's original compositions Trudy was inspired to begin writing lyrics to her beautiful tunes. The album is a change of direction for Trudy. "Stylistically the tunes are more contemporary sounding and were therefore challenging to sing as well as write suitable lyrics to."

Joining them on the album are bassist Geoff Gascoyne and Martin Hathaway playing sax, flute and clarinet. This drummer-less quartet is more chamberlike in quality, the melodies are haunting the arrangements have strong counterpoint lines.

There are six original compositions on the album, four by Andrea and Trudy. The title track "The House" is a piano and voice duet. The lyrics are about Trudy's childhood house in Australia, a photo from the house taken in the 60's appears on the front cover. "The lyric is about how I felt the last time I returned to the house, and how all my childhood memories both good and bad came flooding back to me" says Trudy. "Counting Sheep" is a beautiful but simple song written by Andrea, Trudy has taken a more singer songwriter approach to the lyrics with a repetitive chorus. "Pretty Little Dancer" has a fun township groove and is about Trudy's ballet dancing daughter. "Hold Back the Tears" has a beautiful fluid solo by Andrea and Trudy's lyrics are about her son having to learn lessons in life and begin to stand on his own two feet.

"How can I miss you if you Never Go Away" is a lovely ballad with words and music by Andrea about love and life.

Trudy and Geoff have continued their songwriting partnership with a great song called "Life in a Bubble". A love song about the frailty of love and how it's good to live in the moment.

The other songs on the album have been arranged by Geoff Gascoyne using the instrumentation and reharmonisation to reinvent the songs. "Infant Eyes" by Wayne shorter is in 5/4 and has lovely interplay between Trudy and Martin on the solo. "Waltz for Debby" by Bill Evans has the added extra of Trudy's vocalese written to the Cannonball Alderley solo. The lyrics continues Gene Lee's story of a little girl growing up. Chick Corea's "Crystal Silence" is sad and reflective and Trudy has added some improvised lyrics to the end of the piece. There is an uplifting version of Fred Hersch and Norma Winstone's "Song of Life", "The Other Man's Grass" by Tony Hatch and Jackie Trent has been completely rearranged by Geoff and makes the listener hear the lyrics in a new way. "I Have Dreamed" by Roger's and Hammerstein has a beautiful sax solo by Martin and "Forever Green" is a lesser known Jobim tune which also features Ruby Gascoyne and her friend Grace Freeman singing backing vocals.

Trudy says "I really wanted the challenge to sing and write something stylistically new and Andrea's songs were the perfect vehicle. The lyrics I write are about people and places in my life and I hope my honesty will resonate with my audience and perhaps make them reflect on different aspects of their own lives."

The House

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Sue McCreeth - Just For Luxury

Size: 115,7 MB
Time: 50:01
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. She Want Him (5:44)
02. Maiden Voyage (5:11)
03. Speak No Evil (5:08)
04. The Dancer (4:54)
05. Moonglow (4:28)
06. Babe's Blue (3:45)
07. Black Swan (4:26)
08. Trains On Lines (5:53)
09. Ettu Enna (5:25)
10. You Don't Know What Love Is (5:03)

Sue McCreeth's "Just For Luxury" album, recorded and engineered by Andrew Cleyndert. Photography by Andrew Cleyndert.
John Horler (piano), Andrew Cleyndert and Dave Green (double bass), Mark Fletcher, Matt Home and Tristan Mailliot (drum kit).
The album is a selection of original, mainstream and modern jazz classics. The tour promoting this album was supported and promoted by Jazz Services, including financial support. The two London dates, one being for the London Jazz Festival, sold out at Pizza on the Park, London.

The Observer
DAVE GELLY
…Some will inevitably get lost in the crowd, a fate I sincerely hope does not befall Sue McCreeth… Outstanding... The charm of her style lies in the clear, modest simplicity and grace with which she brings off quite daunting musical feats …an element of ethereal calm… a charming and exquisitely performed set… a cool, misty kind of voice and a style which invites rather than insists on attention… her own ‘Only Here’ and Chick Corea’s ‘500 Miles High’ are outstanding.

The Guardian
JOHN FORDHAM
A gently unconventional performer… an excellent trio… they guaranteed a quietly compelling momentum in a variety of originals and standards… a rich mid-register, falsettos and deep purrs, payoffs on barely audible murmurs… calmly inventive… boldly ambitious… she has imagination and heart… McCreeth applies her plush mid-range and rhythmic flexibility… boldly punctuated and inventive… sultry… hip.

Worthing Herald
One of the best… following a sell-out performance at the Brighton Festival… and receiving rave reviews, her astonishing vocal range has impressed audiences.

Swindon Evening Post
A jazz singer who takes no prisoners in her set… this is a young lady with a similar uncompromising honesty in her compositions and vocal presentation to that shown by pianist (Stan) Tracey… from the outset she kept to a programme which held the audience… we were privileged… a penchant for Gershwin provided an appreciated contrast.

Just For Luxury

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Al Cohn & Zoot Sims - Motoring Along

Styles: Saxophone Jazz
Year: 1974
File: MP3@320K/s
Time: 61:21
Size: 141,5 MB
Art: Front

(4:55)  1. Stockholm - L.A.
(8:51)  2. My Funny Valentine
(8:07)  3. Yardbird Suite
(4:56)  4. Motoring Along
(7:16)  5. Fallin'
(8:53)  6. What The World Needs Now
(4:06)  7. Stockholm - L.A. (alternate take)
(6:24)  8. Fallin' (alternate take)
(7:50)  9. What The World Needs Now (alternate take)

Al Cohn and Zoot Sims were lifelong friends who were frequent collaborators both in the studios and in clubs. Cohn only led four recording sessions (two for tiny labels) during 1963-74; all featured Sims. For their Sonet date, Al and Zoot are joined by pianist Horace Parlan, bassist Hugo Rasmussen and drummer Sven Erik Norregaard and they perform three standards, two Cohn songs and Jimmy McGriff's "Motoring Along." Zoot plays some effective soprano on "Yardbird Suite." As usual the two saxophonists mutually inspire each other on the cool-toned but frequently-heated bop date.~Scott Yanow http://www.allmusic.com/album/motoring-along-mw0000270417

Personnel: Bass – Hugo Rasmussen;  Drums – Sven Erik Norregaard;  Piano – Horace Parlan;  Saxophone – Al Cohn, Zoot Sims

Motoring Along

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Susan Weinert Band - The Bottom Line

Styles: Guitar Jazz
Year: 1996
File: MP3@320K/s
Time: 59:21
Size: 136,2 MB
Art: Front

(6:42)  1. Hombre
(4:26)  2. Triple X
(8:34)  3. Tribute To Fitzcarraldo
(5:05)  4. Don't Smile Too Soon
(1:21)  5. Masters Of The Midiverse
(4:29)  6. That's For You
(6:08)  7. Kluski Theory
(6:18)  8. Dakota Kid
(3:54)  9. Nothing
(5:10) 10. Trabucco
(7:11) 11. Vinnie

This time out, Susan Weinert has mellowed some since her fiery Crunch Time 1994 release. The excellent guitar playing is still everywhere but things are toned down a few notches leaning more towards straight up jazz with less crunchy-edged fusion. Weinert's acoustic guitar and Martin Weinert's acoustic bass works well in the melding of electric and non-electric moods. Even keyswoman extraordinaire, Rachel Z, chimes in with ivory clean runs and flourishes to augment Weinert's electric guitars and guitar-synth. That jazz standards feel comes through here and there but this release retains Weinert's strong signature sound, slightly overdriven, and sustained warmly. Again that Scott Henderson aura is predominantly present but a certain Frank Gambale lilt and warmth of presence and tone is recurrent. Rachel Z comes and goes in keyboard washes and embellishings, interwoven wonderfully in Susan Weinert's delightful compositions. Hardy Fischötter plays the drums with perfection and evident purpose. 

On "Masters of the Midiverse" we are treated to a delicious Holdsworthian guitar-synth intro that melts into an oh-so-Metheny moment complete with brushes on drums and Rachel Z tinkling away in her butterfly kisses way. Very, very nice.This release is an 11 song delight, track to track, with surprise after surprise of mellow wonder. The final cut, "Vinnie" again treads Holdsworthian waters in the composition's stylings early on but is also seems a subtle tribute to Vinnie Coliauta?, sounding at times like a cut from his recent solo release. Rachel Z gets to stretch a great deal here! For those of you out there looking for great jazz guitar and splendid keys but want less screaming amps yet able to groove too The Bottom Line is just right for you. Recommended!~AAJ Staff https://www.allaboutjazz.com/the-bottom-line-intuition-review-by-aaj-staff.php

Personnel:  Drums – Hardy Fischötter;  Electric Bass, Acoustic Bass – Martin Weinert;  Electric Guitar, Acoustic Guitar, Guitar Synthesizer – Susan Weinert;  Piano, Keyboards – Rachel Z

The Bottom Line

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Sylvia Bennett - It's All About Love

Styles: Vocal, Jazz Contemporary
Year: 2016
File: MP3@320K/s
Time: 39:43
Size: 92,6 MB
Art: Front

(3:59)  1. It's All About Love
(3:31)  2. Another Love Song
(3:49)  3. Letting Our Feelings Go
(4:04)  4. Somewhere In The Moonlight
(3:27)  5. Don't Need Another Lover
(3:22)  6. Por Ti
(3:09)  7. You Were My Best Friend
(3:56)  8. I Still Love You
(3:44)  9. New Love
(3:15) 10. One Love
(3:23) 11. Pour Toi

Sylvia Bennett’s first all original, contemporary jazz album, It's All About Love, is finally available. Featuring the Grammy–nominated singer in an entirely new sonic atmosphere, one that plays on her sensual side and taps into her 24/7, deeply held belief that love is the answer as well as the question. The project has produced two hits before its release date and the 3rd single, the title track, “It’s All About Love,” is no doubt going to be another runaway radio smash as well with its smooth, ethereal groove featuring the high studio standards of producer/songwriter Hal S. Batt (Shakira, Julio Iglesias) and the gorgeous layering of voice with a sweet, seductive musical ambiance. 

The Miami song machine is in her creative prime and is redefining the business of music, with no intentions of stopping anytime soon! Sylvia Bennett, is an international recording artist and songwriter who has performed at Presidential Inaugurations and opened for such renowned artists as Bob Hope, Phyllis Diller, Jackie Mason, Dizzy Gillespie, Barry Gibb and David Brenner. Discovered by the legendary Lionel Hampton, she has since captivated audiences and critics alike with her sultry and honeyed toned voice. She’s the inimitable, unforgettable Sylvia Bennett.http://www.sylviabennett.com/music_its_all_about_love_album.html

It's All About Love

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Flip Phillips - Swinging With Flip

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 38:19
Size: 87,8 MB
Art: Front

(3:06)  1. If I Had You
(3:14)  2. Cottontail
(3:18)  3. Blues For The Midgets
(3:23)  4. What Is This Thing Called Love
(3:01)  5. Singing In The Rain
(2:49)  6. Gina
(3:38)  7. Goodbye
(2:55)  8. Salute To Pres
(3:20)  9. Swedish Pastry
(3:10) 10. Someone To Watch Over Me
(3:01) 11. I'm Putting All My Eggs In One Basket
(3:16) 12. Trio Boogie

Flip Phillips, who angered some critics early on because he gained riotous applause for his exciting solos during Jazz at the Philharmonic concerts, for over 50 years was an excellent tenor saxophonist equally gifted on stomps, ballads, and standards. He played clarinet regularly in a Brooklyn restaurant during 1934-1939, was in Frankie Newton's group (1940-1941), and spent time in the bands of Benny Goodman, Wingy Manone, and Red Norvo. However, it was in 1944 that he had his breakthrough. As a well-featured soloist with Woody Herman's Herd (1944-1946), Phillips became a big star. His warm tenor was most influenced by Ben Webster but sounded distinctive even at that early stage. He toured regularly with Jazz at the Philharmonic during 1946-1957, scoring a bit of a sensation with his honking solo on "Perdido" and holding his own with heavy competition (including Charlie Parker and Lester Young). He occasionally co-led a group with Bill Harris, and that band was the nucleus of the ensemble that Benny Goodman used in 1959. Phillips then retired to Florida for 15 years, playing on just an occasional basis, taking up the bass clarinet as a double and making only a sporadic record date. But by 1975 he was back in music full-time, making quite a few records and playing at festivals and jazz parties. Even as he passed his 80th birthday, Flip Phillips had lost none of the enthusiasm or ability that he had a half-century earlier. ~ Scott Yanow https://itunes.apple.com/lu/artist/flip-phillips/id121154#fullText

Personnel:  Bass – Ray Brown; Drums – Buddy Rich;  Guitar – Barney Kessel;  Piano – Oscar Peterson;  Tenor Saxophone – Flip Phillips;  Trumpet – Charlie Shavers

Swinging With Flip

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VA - The Blue Note Years Vol. 3: Organ And Soul 1956-1967

Size: 168,2+148,2 MB
Time: 72:54+64:06
File: MP3 @ 320K/s
Released: 1998
Styles: Jazz: Jazz Soul, Jazz Funk
Art: Front

CD 1:
01 Jimmy Smith - The Sermon (20:11)
02 Baby Face Willette Quartet - Somethin' Strange ( 6:40)
03 Fred Jackson - Southern Exposure ( 6:51)
04 Don Wilkerson - Sweet Cake (Digitally Remastered) ( 5:57)
05 Ike Quebec - Easy, Don't Hurt (1992 Digital Remaster) ( 6:08)
06 Freddy Roach - I.Q. Blues ( 5:18)
07 Big John Patton - Let 'em Roll (1992 Digital Remaster) ( 6:45)
08 Grant Green - Blues In Maude's Flat (15:01)

CD 2:
01 Kenny Burrell - Midnight Blue ( 3:58)
02 Lou Donaldson - Hog Maw (Digitally Remastered) ( 6:18)
03 Donald Byrd - Cristo Redentor ( 5:40)
04 Stanley Turrentine - River's Invitation ( 6:13)
05 Lee Morgan - The Sidewinder (10:22)
06 Wayne Shorter - Adam's Apple ( 6:43)
07 Hank Mobley - The Turnaround ( 8:14)
08 Donald Byrd - Slow Drag ( 9:43)
09 Lou Donaldson - Alligator Bogaloo ( 6:51)

This two CD collection was originally released as part of Blue Note's 60th Anniversary boxed set. Jimmy Smith, who was signed by Alfred Lion after he saw just one of Smith's shows, sets the pace for this chronicle of the organ fever of soul jazz. Other great organists featured include John Patton, Larry Young, and Freddie Roach. Aggressive and funky, this CD documents a sound that borrowed heavily from the blues and would influence jazz and rock well into the next decade. ~by Stacia Proefrock

The Blue Note Years Vol. 3: Organ And Soul 1956-1967 CD 1
The Blue Note Years Vol. 3: Organ And Soul 1956-1967 CD 2

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Josefine Lindstrand & Norrbotten Big Band - While We Sleep

Size: 136,9 MB
Time: 59:27
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Big Band
Art: Front

01. Send Out The Singers (4:51)
02. Winter Night Song (4:12)
03. There Will Be Stars (4:50)
04. Jewels (4:17)
05. Broadway (7:06)
06. Oh My Love (5:10)
07. Make My Day Tomorrow (5:43)
08. The Net (5:59)
09. In Spring (6:07)
10. The Mystery (5:53)
11. I Had Too Much To Think 'bout (5:15)

Josefine Lindstrand is a Swedish singer living in Stockholm, Sweden. She received the Jazz in Sweden award for 2009 from the government agency Rikskonserter, and her debut record There Will Be Stars was released soon afterwards. The album received a favourable review in Svenska Dagbladet. In 2012 her second album Clouds was released. Lindenstrand used her middle name Britah for this record, which a reviewer in Dagens Nyheter characterised as pop rather than jazz.

Lindstrand has also performed with artists such as Efterklang, Django Bates, Uri Caine, Petra Marklund, Veronica Maggio, Maia Hirasawa, Laleh, and Jonathan Johansson.

While We Sleep

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Jas Miller - Follow The Sun

Size: 114,9 MB
Time: 48:57
File: MP3 @ 320K/s
Released: 2016
Styles: Contemporary Jazz, Smooth Jazz
Art: Front

01. Follow The Sun (Feat. Gianni Vancini) (4:44)
02. Isle Of View (Feat. Rocco Venttrella) (3:50)
03. Room To Wriggle (3:49)
04. Steppin (Feat. Rick Parma) (4:01)
05. North Shore (3:58)
06. Jello Coconuts (Feat. Hans Solo Zermuehlen) (4:47)
07. Cheaper Buy The Dz (Feat. Alexx Daye) (4:35)
08. Mm Mm Mm (4:32)
09. Where R U (Feat. Michael Paulo) (3:27)
10. Espresso Yo Selfie (Feat. Elan Trotman) (4:09)
11. Steppin (Single Version) (Feat. Rick Parma) (3:30)
12. Follow The Sun (Single Version) (Feat. Gianni Vancini) (3:30)

After quite a bit of debilitating deliberating, receiving some great cover art from Blue Johnson (Al Jarreau, Seawind), after having done an initial release with my own cover art, and then re-listening to the album & radio editions of all the tracks; I found, In some cases the radio editions of the songs really flowed better. In others, it's the album edition that makes the vibe flow best. In this release are my choices for each.

Stellar performances turnt by Michael Paulo (sax, Where R U), Èlan Trotman (sax, Espresso Yo Selfie), Rocco Ventrella (sax, Isle Of View), Gianni Vancini (sax, Follow The Sun), Hans Zermuehlen (keyboards, drums, Cheaper Buy the Dz), Isha Love (keyboards, Isle of View), Marco Basci (keyboards, Room to Wriggle), Nate Harasim (drums & bass, Isle of View), Derrick Murdock (bass, Follow the Sun), Anthony Crawford (bass, Espresso Yo Selfie), Sergio Bellotti (Yamaha DTX drums, Follow The Sun), David "Fingers" Haynes (drums, Mm Mm Mm), Alexx Daye (vocals, Cheaper Buy the Dz). Jas Miller (guitars, basses, keyboards, horn & string arrangements, percussion, steel drums & add’l programming)

Follow The Sun

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Sidsel Storm - Closer

Size: 107,0 MB
Time: 46:05
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Walking Blindly (4:38)
02. April In Paris (5:26)
03. Get Out Of Bed (4:46)
04. That Old Black Magic (3:34)
05. Sadness (6:23)
06. Lead The Way (4:18)
07. Who Cares (3:18)
08. I've Got A Crush On You (4:42)
09. You Leave Me Low (4:34)
10. The Party's Over (4:22)

Prize winning Danish jazz singer Sidsel Storm in conjunction with the recording of the new album, Storm is enjoying a busy year of live performances – the discipline that first gained her enormous popularity both in Denmark and worldwide.

Sidsel Storm's new album remains true to the modern, airy vocal jazz for which she is known, presenting the listener once again with an ear catching, whimsical expression and vocal style combining the best of jazz and pop.

Despite her youth, Sidsel Storm is already sought after in the international music scene, where critics praise her ability to capture audiences with her warmth, engaging melodies and powerful voice. In increasing demand since the release of her debut album 'Sidsel Storm' in 2008 and 'Swedish Lullaby' in 2010, Storm has, among other things, appeared on the cover of the Japanese jazz magasine Jazz Perspective and performed to full houses in USA, Germany, Thailand and Sweden and most recently at the mini-festival 'Le Jazz Danois' in Paris, where an enthusiastic audience met The Sidsel Storm Quintet with a standing ovation. Success brings with it obligation, and life continues in full swing for Sidsel Storm, who from her base in Dragør is planning a longer Danish and international tour in conjunction with the release of the new album.

Closer

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Nina Baun - Human

Size: 101,0 MB
Time: 43:23
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Smooth Jazz
Art: Front

01. Wave Of Evergreen (4:39)
02. No Plans. Don't Ask (5:12)
03. Twisted (6:23)
04. Older Than I (4:27)
05. Cohabitant (4:49)
06. Implosive (4:31)
07. Stereo (4:41)
08. Tucked Away (3:49)
09. Life's Wiser (4:49)

“Nina is a very talented and conscientious singer with a totally professional attitude to music making. Refreshingly, Nina views herself as more than just a soloist; her contribution is always for the greater good of the music…” says Django Bates, musician and composer, about Nina Baun’s music.

“What I’m doing is organic and in constant development, and I do not let my compositions be limited by fixed types of music. This record (“Something is always moving”, debut album released in DK in 2011 red.) is an offer of me, and just like people skip around between what is easy and what is hard, so do my music”, she says.

The tune Something is Moving, which will be on Nina Baun’s second album, was written in a rehearsal room in New York. It didn’t take her many hours, as it all came flowing to her. Nina rented the room, which is in an old stone house in Brooklyn, for a couple of hours, and on an old piano she composed one of the tunes, which she is most proud of today.

It is those kinds of moments that are significant to Nina Baun. Those moments are just as important as when she is on stage with Danish or international jazz musicians. It is the feeling of having a moment of pure and unrefined musicality, whether it’s bending over a grand piano in a rehearsal room in Brooklyn or on stage.

Nina Baun approaches her singing, compositions, and arrangements with great musical understanding and knowledge. It is not the role of figurehead that appeals to her. No, Nina is mainly a musician and a composer. And she’s been like that all through her career as performing artist and composer as well as student through four years in MGK at Sankt Annæ Gymnasium followed by five years in The Rhythmic Music Conservatory in Copenhagen, where in 2010 she earned her Master’s Degree in performing arts.

Many years before her time as a music student, Nina Baun made her first songs, when in the late 80’s she sat on the back of her father’s bike driving home from daycare.With her brother, Soren Baun, and her dad, who both are musicians as well, they wrote songs about what they saw and about things that meant something. Nina Baun sang about toys, candy, pets, and friends.

When Nina at the age of 11 began taking singing lessons, things started to speed up, and it was clear that she had an exceptional talent.

But it was especially when Nina Baun, at a four-year basic course in music (MGK), encountered a world that took music deadly seriously, that she realized she wanted to be a musician.

In the later years of the course, Nina Baun arrived at a feeling of being present in her own personal expression and sound. Next stop was the music conservatory, where five years shaped and challenged her.

Her own project, Nina Baun & GUMA, became a fundamentally creative source during the years at the music conservatory. With Jesper Thorn (bass),William Larsson (pia, Orpheus), Mads Emil Nielsen (dr, GRAF), Henrik Olsson (gui) and earlier Mathias Jørgensen (pia, Girls in airports) and Kevin Brow (dr, Canada) in the band, she had a place to convey the many impressions, ideas and new knowledge that the school offered her.

The band broke up in the spring of 2012. The time at the music conservatory was long gone and Nina Baun viewed the break-up as a natural result. Now she wanted to challenge herself in other constellations.

It is not only the schools that gave Nina Baun her training as a musician. It is on her journeys to New York and in her meetings with other artists that Nina Baun strikes the wild creativity and naturalness that characterize her music.

Age 28, Nina Baun is well on her way to establishing her name on the Danish jazz- and crossover scene. Even though she has played with many accomplished musicians in the business, such as Django Bates, Thomas Fonnesbaek, Jacob Christoffersen, and Jorgen Emborg, it is among other young, challenging, and promising artists she finds herself at home. ~by Sofie Tholl

Human

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Gerry Mulligan - Little Big Horn

Styles: Saxophone Jazz

Year: 2014

File: MP3@320K/s

Time: 36:21

Size: 91,2 MB

Art: Front

(6:03)  1. Little Big Horn

(6:54)  2. Under A Star

(6:46)  3. Sun On Stairs

(5:46)  4. Another Kind Of Sunday

(6:54)  5. Bright Angel Falls

(3:55)  6. I Never Was A Young Man

On one of the first relatively straightahead sessions for GRP, baritonist Gerry Mulligan (accompanied by a rhythm section led by Dave Grusin's keyboards with an occasional horn section) performs six of his then-recent compositions including the title cut. Strangely enough, the most memorable selection is "I Never Was a Young Man" which has a rare but very effective Mulligan vocal. Otherwise the music is good but not classic.~Scott Yanow http://www.allmusic.com/album/little-big-horn-mw0000649665

Personnel: Gerry Mulligan (baritone saxophone, vocals), Lou Marini (alto saxophone), Michael Brecker (tenor saxophone), Marvin Stamm, Alan Rubin (trumpet), Keith O'Quinn (trombone), Richard Tee (piano), Dave Grusin (keyboards, synthesizer), Anthony Jackson, Jay Leonhart (bass), Buddy Williams, Butch Miles (drums).

Little Big Horn

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Barbara Lynn - Here Is Barbara Lynn

Styles: Vocal
Year: 1968
File: MP3@320K/s
Time: 30:19
Size: 69,9 MB
Art: Front

(3:04)  1. You'll Lose A Good Thing
(2:55)  2. Take Your Love And Run
(2:15)  3. Maybe We Can Slip Away
(2:11)  4. Sure Is Worth It
(2:15)  5. Only You Know How To Love Me
(3:05)  6. I'll Suffer
(2:20)  7. You're Losing Me
(2:31)  8. Sufferin' City
(2:42)  9. Multiplying Pain
(2:33) 10. Why Can't You Love Me
(1:59) 11. Mix It Up Baby
(2:24) 12. This Is The Thanks I Get

To be a woman singing your own blues and soul songs in 1960s Texas was a rare thing. To do so while brandishing a left-handed Stratocaster and bashing out hard-edged licks was even rarer. Yet that's just what Barbara Lynn did, inspired by Guitar Slim, Jimmy Reed, Elvis Presley and Brenda Lee. And it was a hit: her 1962 debut single, You'll Lose A Good Thing, recorded with session musicians including Dr. John, gave her an R&B chart Number One and a Billboard chart Top 10 hit. It was a path that Lynn chose at elementary school in 1940s Beaumont, Texas, when she told her mother she wanted to play guitar. ''I decided that playing piano was a little bit too common, you know what I mean?'' says Lynn in the new liner notes. ''You'd always see a lady or a little girl sitting at a piano. I decided I wanted to play something more unexpected, so that's when I got interested in learning to play the guitar.'' Self-taught, first on the ukulele and then on a guitar, Lynn formed her first group, Barbara Lynn and Her Idols, while still at school and soon took the local scene by storm. Hers was a powerful talent in a petite package, a performer who could stand up against the best - even as a teenager.

Spotted while performing, underage, in Louisiana, she was offered the chance to record her own material, songs that filtered the experience of being a black Texan teen with power, feel, and guts. Ten of the twelve tracks on her debut album were her own compositions. ''It took a lot of time,'' Lynn remembers of the recording process, ''but we got Good Thing, we got our hit. I loved it. I loved meeting the new musicians; a lot of the guys who played on that record became friends. And seeing how the engineers worked and how they produced the sounds, all of that was really interesting to me.'' The success of that single took Lynn out on the road with the likes of Stevie Wonder, Gladys Knight, BB King, The Supremes, Chuck Berry, Guitar Slim, and The Temptations. BB King even wrote a letter to Lynn's mother to tell her what a talented daughter she'd raised. She appeared at the Apollo Theater, she was twice on American Bandstand, and one of her songs, Oh Baby (We've Got A Good Thing Goin') was covered by The Rolling Stones.

Though she was a precocious performer, hers is a talent that came to full bloom on Here Is Barbara Lynn, her 1968 album produced by Huey P. Meaux and originally released on Atlantic Records. The record was conceived as an introduction to Lynn's prodigious talents: her deeply felt guitar playing, her gutsy soulful singing skills, and her songwriting prowess. It combined her early hit with a raft of new songs, each packed with Lynn's passion and fire. Yet the introduction to her world - now reissued by Light In The Attic - largely proved to be her swansong. She married in 1970, aged 28, had three children, and largely retired from the music industry for most of the '70s and '80s. Now touring again, she's amused to think of her 46 year-old album gaining new fans. ''I hear this album, and it seems like... it seems like the old times to me,'' she says. ''I don't know, it's strange to know it's coming out again. It is going to be a wild, first time thing for me, like going back in time. But I'm excited to see what happens.''~Editorial Reviews http://www.amazon.com/Here-Barbara-Lynn-Gram-Vinyl/dp/B00NWFE9KM

Here Is Barbara Lynn

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Kirk Whalum - The Babyface Songbook

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 57:19
Size: 131,6 MB
Art: Front

(4:42)  1. Exhale (Shoop Shoop)
(4:22)  2. I'll Make Love To You
(4:36)  3. Ca We Talk
(4:47)  4. When Can I See You
(4:44)  5. For The Cool In You
(4:27)  6. Breathe Again
(5:00)  7. Betcha Never
(5:17)  8. Someon To Love
(4:50)  9. Not Goin' Cry
(5:25) 10. Whip Appeal
(4:07) 11. I Said I Love You
(4:57) 12. Wey U

The title of saxophonist Kirk Whalum's 2005 album Kirk Whalum Performs the Babyface Songbook speaks for itself. You get smooth jazz icon Whalum taking on R&B icon Babyface's best songs of the past 15 years, including "Waiting to Exhale (Shoop Shoop)," "I'll Make Love to You," "When Can I See You," and others. Joining in the intimate and stylish proceedings are other smooth jazz notables, including trumpeter Rick Braun, who adds a boppish elan to "Can We Talk," soprano superstar Dave Koz, and guitarists Norman Brown and Chuck Loeb among others. Fans of Whalum and Babyface alike should find much to enjoy here.~Matt Collar http://www.allmusic.com/album/kirk-whalum-performs-the-babyface-songbook-mw0000174120

Personnel: Kirk Whalum (soprano saxophone, tenor saxophone); Kirk Whalum; John Stoddart (vocals, piano, Fender Rhodes piano); Norman Brown (guitar); Mark Portmann (strings, keyboards, programming); Takana Miyamoto (piano, Fender Rhodes piano); Ricky Peterson (Fender Rhodes piano, Hammond b-3 organ, keyboards); Andy Snitzer (keyboards, programming); Christian McBride (bass guitar); Bashiri Johnson (percussion); Kenneth "Babyface" Edmonds, Juan Winans, Melinda Doolittle, Babyface (background vocals); Chuck Loeb (acoustic guitar); Dave Koz (soprano saxophone); Rick Braun (trumpet, flugelhorn).

The Babyface Songbook

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Fred Wesley & The Horny Horns - A Blow For Me, A Toot To You

Styles: Trombone Jazz
Year: 1977
File: MP3@320K/s
Time: 58:27
Size: 137,5 MB
Art: Front

(9:15)  1. Up For The Down Stroke
(7:23)  2. A Blow For Me, A Toot To You
(4:24)  3. When In Doubt: Vamp
(6:52)  4. Between Two Sheets
(8:05)  5. Four Play
(6:02)  6. Peace Fugue
(7:12)  7. A Blow For Me, A Toot To You [remix]
(7:07)  8. Four Play [remix]
(2:03)  9. Interview

Having been in the employ of James Brown, who gave them a first-class education in funk and soul, Fred Wesley and Maceo Parker were obvious choices to contribute to George Clinton's P-Funk empire (the Godfather of Soul was a major influence on Clinton). In 1977, Clinton and Bootsy Collins produced A Blow for Me, A Toot for You, the debut album by Fred Wesley & the Horny Horns a group that boasted Wesley on trombone, Parker on tenor and alto sax, and Rick Gardner and Richard "Kush" Griffith on trumpet. Clinton and Collins did a lot of the writing, and not surprisingly, much of this vinyl LP is pure P-Funk. The album gets off to a gritty start with a remake of Parliament's "Up for the Down Stroke," and the Parliament influence is equally strong on "Between Two Sheets." As for the instrumentals, "Four Play" blends funk and jazz, while Wesley's moody "Peace Fugue" isn't unlike something you would have heard on a CTI recording in the 1970s. "Peace Fugue," in fact, is the least Clinton-sounding thing on the LP. A Blow for Me, A Toot for You may not be in the same class as Parliament's Mothership Connection, Collins' Ahh...The Name is Bootsy, Baby! or Funkadelic's One Nation Under a Groove, but not many LPs were. Overall, it's a likable record that anyone who loves P-Funk should be aware of.~Alex Henderson http://www.allmusic.com/album/a-blow-for-me-a-toot-to-you-mw0000602306

Personnel :  Fred Wesley (trombone, background vocals); Bootsy Collins (guitar, bass instrument, drums, drum, background vocals); Phelps "Catfish" Collins (guitar, background vocals); Mike Hampton "Kid Funkadelic", Garry Shider, Glen Goins (guitar); Maceo Parker (alto saxophone, tenor saxophone, background vocals); Richard "Kush" Griffith, Rick Gardner (trumpet, background vocals); The Brecker Brothers (horns); Bernie Worrell (keyboards, synthesizer, background vocals); Frankie "Kash" Waddy, Jerome Brailey (drums, drum).

A Blow For Me, A Toot To You

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