Gerry Mulligan - What Is There To Say?

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 42:34
Size: 97,9 MB
Art: Front

(4:17)  1. What Is There To Say?
(4:23)  2. Just In Time
(5:19)  3. News From Blueport
(6:31)  4. Festive Minor
(4:06)  5. As Catch Can
(4:16)  6. My Funny Valentine
(9:05)  7. Blueport
(4:34)  8. Utter Chaos

The last of the pianoless quartet albums that Gerry Mulligan recorded in the 1950s is one of the best, featuring the complementary trumpet of Art Farmer, bassist Bill Crow, and drummer Dave Bailey along with the baritonist/leader. This recording is a little skimpy on playing time but makes every moment count. 

Virtually every selection is memorable, with "What Is There to Say," "Just in Time," "Festive Minor," "My Funny Valentine," and "Utter Chaos" being the high points. Highly recommended both to Mulligan collectors and to jazz listeners who are just discovering the great baritonist.~Scott Yanow http://www.allmusic.com/album/what-is-there-to-say-mw0000110341

Personnel:  Gerry Mulligan - Baritone saxophone;  Art Farmer – Trumpet;  Bill Crow – Bass;  Dave Bailey - Drums

What Is There To Say?

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Kevin Golden Trio - Pelham Parkway (Feat. Akiko Tsuruga & Peter Grant)

Size: 100,4 MB
Time: 40:02
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Hard Bop, Hammond Organ
Art: Front

01. Market Square (7:03)
02. Let's Do This (6:42)
03. JJ's Smove Groove (5:12)
04. Pelham Parkway (4:31)
05. Where Are They Now (4:32)
06. Let's Make The Time (6:08)
07. Cherry Pie (5:51)

Pelham Parkway captures the Kevin Golden Trio performing 7 originals penned by Kevin Golden in the tradition of the guitar/organ trio reminiscent of the style of the legendary Grant Green. Kevin Golden is on guitar, along with Akiko Tsuruga on organ, and Peter Grant on drums. The session was recorded at the legendary Tedesco Studios in Paramus, NJ, by Tommy Tedesco in February 2016.

Golden is a long time journeyman of the NYC and Hudson Valley NY jazz scene and has been playing jazz for over 27 years in the Hudson Valley and greater NYC area. He often plays with the Steve Kaiser Quartet in the NYC club scene. Guitarist Golden style is influenced by Grant Green, Rene Thomas, and Joshua Breakstone. Golden is also the guitarist for Michael’s Jazz Quartet on the recording "Woody-n-Me" released in 2007 and is co-author of song "Golden Opportunity", 2nd place winner in 2008 Independent Music Awards for Jazz Song of the Year. Golden also wrote "Say What You Mean", which was chosen as an All About Jazz website "Download of the Day", and is currently available online under the Steve Kaiser Quartet.

Akiko Tsuruga (aka "Queen of the Jazz Organ") has been a mainstay on the New York jazz scene since 2001. Akiko has released five albums in Japan and four in the U.S. Both of her first two US releases, “Sweet and Funky” and “Oriental Express” (18th & Vine Records), have ranked within top 20 on the national jazz radio charts.

Akiko has been regular on the DownBeat magazine critics poll since 2008. In 2012, she placed 6th in the Rising Star category of the magazine along with ranking in the readers poll. DownBeat Magazine and Keyboard Magazine have featured articles on Akiko. Her third US album, “Sakura” released in 2012 scored 7th on the national Jazz radio chart. Her latest album, “Commencement”, released on August 20th, 2014 both in the U.S. and in Japan, ranked 4th in the Jazz Week Chart.

Drummer Peter Grant was born and raised in New York City and studied at the Manhattan School of Music. Peter is a creative and versatile musician who has been in demand in the New York recording studios and clubs for 35 years. He has performed in venues ranging from Carnegie Hall to the Blue Note to Royal Albert Hall, the Mount Fuji Jazz Festival in Japan, the Monterey Jazz Festival and the White House.

Grant has played on over 40 recordings with such artists as Gerry Mulligan , Peggy Lee , New York Voices , Harvie Swartz and Rodney Jones. Live performance credits include gigs with Astrud Gilberto, Peter Cincotti, Ben E. King, Dave Samuels and European tours with Bob Dorough and Linda Hopkins.

Pelham Parkway 

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Pat Kelley - Sing Me Back Home

Size: 101,5 MB
Time: 38:43
File: MP3 @ 320K/s
Released: 2016
Styles: Guitar Jazz, Jazz/Pop Vocals
Art: Front

01. Hearts And Bones (Feat. Annie Ellicott) (5:31)
02. Overjoyed (Feat. Sarah Maud) (4:27)
03. Skylark (Feat. Stephanie Oliver) (3:48)
04. Jardin D'hiver (Feat. Olivia Duhon) (3:24)
05. Midnight Sun (Feat. Annie Ellicott) (5:00)
06. All Blues (Feat. Pam Crosby) (3:43)
07. Do You Know The Way To San Jose (Feat. Stephanie Oliver) (3:29)
08. Dindi (Feat. Olivia Duhon) (3:37)
09. Are You Lonesome Tonight (Feat. Sarah Maud) (2:48)
10. Softly As In A Morning Sunrise (Feat. Pam Crosby) (2:52)

Los Angeles jazz and studio guitarist Pat Kelley has produced a unique collection of songs that feature five vocalists from Tulsa, Oklahoma. Most of the recording was done at Artsong Studios in Los Angeles. The vocals, fiddle, flugelhorn, and flute were recorded at Drapp Studios in Tulsa.

There is excitement about Tulsa’s musical future in the air. Tulsa has always been a vibrant music community with great musicians and singers, and that is certainly true today. Home to the Woody Guthrie Museum, Tulsa will soon open the Bob Dylan Museum that will house more than six thousand Bob Dylan artifacts. Live music is alive and well.

Enjoy Annie Ellicott, Sarah Maud, Stephanie Oliver, Olivia Duhon, and Pam Crosby, five wonderful voices that you are sure to love.

Sing Me Back Home

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Ed Calle - 360

Size: 134,6 MB
Time: 57:52
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Saxophone Jazz, Latin Jazz
Art: Front

01. 360 (4:08)
02. Dancing On A Cloud (5:21)
03. Monk's Mode (5:46)
04. Waltz For Sydney (5:13)
05. Half Turn (4:06)
06. La La Land (4:10)
07. Until The End Of Never (3:35)
08. One For JJ (4:17)
09. 3 (Plus Minus 3) (5:30)
10. Pooch Patrol (5:26)
11. Hammocks Hoedown (4:49)
12. Pooch Patrol (Alternate Take) (5:26)

Born in Caracas, Venezuela to Spanish parents – father Joaquin Calle from Madrid and mother Maria Begoña Calle from Barcelona – it was obvious from the very start that Ed was a gifted musician whose energetic, passionate, and distinct sound captured the attention of audiences and musicians alike. His teachers and schoolmates often suggested that Calle’s sound is actually part of his DNA. Now, Calle can be heard on more than 1,200 albums, almost 9,000 singles, and countless movie and television soundtracks both as a soloist, sideman, composer, arranger, conductor, and producer. He appears on Grammy®-award-winning albums by Frank Sinatra, Juan Luis Guerra, Arturo Sandoval, Juanes, Vicky Carr, Gloria Estefan, and Jon Secada. Calle has also recorded and performed around the world with music royalty including Phil Ramone, Tom Dowd, Carlos Santana, Eddie Money, Greg Allman, Emilio Estefan, Chick Corea, Michael and Randy Brecker, Tito Puente, Celia Cruz, Poncho Sanchez, Willy Chirino, John Patitucci, Steve Gadd, Anthony Jackson, Donna Summer, the Bee Gees, Natalie Cole, Smokey Robinson, Shakira, The Temptations, The Four Tops, The Spinners, Armando Manzanero, Barry Gibb, Oscar D’Leon, Dave Valentine, Lenny Kravitz, K.C. & the Sunshine Band, Gloria Estefan, Diego Torres, Julio Iglesias, David Bisbal, Michael Bolton, Will to Power, Luis Enrique, Bob James, Bobby Caldwell, Franco de Vita, Frankie Valli, Rihanna, Idina Menzel, Extreme, the Pet Shop Boys, George Clinton, Albita, Placido Domingo, Roberto Carlos, Ricky Martin, Busta Rhyme, JLo, Chayanne, and Vanessa Williams just to name a few. Calle's television work includes an almost decade-long stint as saxophonist in the Sabado Gigante orchestra and appearances as a soloist with various artists on theTonight Show with Johnny Carson and Jay Leno, Late Night with David Letterman, the Grammy® Awards, and a host of international, national, and regional television programs and specials.

Dr. Ed Calle is a Latin Grammy® Award winner for Best Instrumental Album (2015) with Dr. Ed Calle Presents Mamblue and a five-time Grammy® nominee. In addition to earning the 2015 Best Instrumental Album Latin Grammy® for Dr. Ed Calle Presents Mamblue, Calle also garnered a 2014 Latin Grammy® nomination and 2015 Grammy® nomination as a member of the Afro-Cuban Funk Super group PALO for their album PALO! Live. Among his many solo recordings, Ed Calle Plays Santana earned a Latin Grammy® nomination in 2005. In the Zone features original jazz compositions and jazz standards and earned a Latin Grammy nomination in 2007. His 2015 Latin Grammy® winning solo release Dr. Ed Calle Presents Mamblue, is an Afro-Cuban jazz orchestral spectacular featuring more than 115 of the most influential jazz and studio musicians in the history of South Florida. The first studio record by the World Music 5, America, features chamber jazz orchestrations of original and classic music from the Americas with an all-star quintet that includes Negroni's Trio and violinist Federico Britos. Exploring the duo realm with his longtime friend and colleague Jose Negroni, Calle is also featured on the Latin Grammy® Award nominated 2015 Sony Records release Negroni +9.

360

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Richard Rodney Bennett - Take Love Easy / The Lyrics Of John Latouche

Size: 121,0 MB
Time: 51:25
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. All Of A Sudden It's You (Feat. Linc Millman) (2:22)
02. It's The Going Home Together (Feat. Linc Millman) (3:56)
03. Not A Care In The World (Feat. Dick Sarpola & Tony Tedesco) (2:46)
04. Day Dream (Feat. Dick Sarpola & Tony Tedesco) (4:23)
05. A Nickel To My Name (Feat. Linc Millman) (2:18)
06. She Makes Me Believe She's Mine (Feat. Dick Sarpola & Tony Tedesco) (4:29)
07. You Took Me By Surprise (Feat. Dick Sarpola & Tony Tedesco) (2:48)
08. Lazy Afternoon (Feat. Dick Sarpola & Tony Tedesco) (5:25)
09. Taking A Chance On Love (Feat. Dick Sarpola & Tony Tedesco) (2:58)
10. Strange (Feat. Linc Millman) (3:03)
11. Cabin In The Sky (Feat. Dick Sarpola & Tony Tedesco) (3:01)
12. Take Love Easy (Feat. Dick Sarpola & Tony Tedesco) (3:28)
13. Love Turned The Light Out (Feat. Dick Sarpola & Tony Tedesco) (3:40)
14. I've Got Me (Feat. Linc Millman) (3:12)
15. The Next Time I Care (Feat. Dick Sarpola & Tony Tedesco) (3:28)

A remarkably prolific composer and versatile pianist, Richard Rodney Bennett divided his attention among three primary musical interests: film music in an often Romantic style, concert music owing much to serialism, and jazz and cabaret music. Bennett began following all of these avenues by the 1950s, but he never allowed the paths to intersect. Each pursuit maintained its own integrity and in no way could he be considered a crossover artist. He was writing music even as he was learning to read, and produced three string quartets by the time he was 18. Bennett enrolled in the Royal Academy of Music in 1953, studying composition with Howard Ferguson and Lennox Berkeley. He graduated in 1956, then spent 1957 - 1959 as a scholarship student in Paris with Pierre Boulez. Here, Bennett was thoroughly indoctrinated in Boulez's technique of total serialism and the German avant-garde, but his only surviving work from this period is Cycle II for Paul Jacobs. Bennett almost immediately took a highly personal approach to serialism, focusing on the melodic possibilities of a tone row and readily exploring its harmonic potential. A turning point came in 1981 with his ballet Noctuary, which fused the tonality of the Scott Joplin piece on which it was based with Bennett's usual atonal serialism. After this, Bennett's techniques became much freer; while still atonal, his highly expressive music shook off the strictest controls of serialism and often indulged in quotation of earlier composers. Bennett's catalog includes four string quartets, three symphonies, concertos for almost all the principal instruments (including harpsichord), and a great deal of chamber music. He frequently wrote for woodwinds throughout his career, but began to focus more intently on them in the late '80s upon befriending many wind players in his capacity as a piano accompanist. Since 1956, Bennett had also been writing film scores in a much more conservative style. He became a favorite composer of Joseph Losey, among other directors, and among his some 50 cinematic efforts are scores for such popular movies as Far from the Madding Crowd, Nicholas and Alexandra, Murder on the Orient Express, and Four Weddings and a Funeral. It was also in the 1950s that Bennett became interested in jazz, particularly as a pianist. He kept this fascination largely to himself until the 1990s, when he began touring the world with a solo cabaret act, singing and playing jazz pieces and torch songs. ~by James Reel

Take Love Easy / The Lyrics Of John Latouche

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Margrete Grarup & Mads Vinding - Walk With Me

Size: 148,1 MB
Time: 63:39
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. The Wish ( 7:10)
02. Walk With Me ( 6:24)
03. Salme Ved Vejs Ende ( 6:00)
04. Nature Boy ( 9:10)
05. On The Sunny Side Of The Street ( 2:20)
06. Georgia On My Mind ( 5:11)
07. Strange Fruit - Summertime (10:11)
08. My Funny Valentine ( 3:24)
09. Blame It On My Youth ( 6:03)
10. Everyday I Have The Blues ( 4:20)
11. What A Wonderful World ( 3:20)

Walk With Me, from Storyville Records, features prominent Danish jazz musicians Mads Vinding (Bass) and Carsten Dahl (Piano) with Margrete Grarup (Vocal) and Marilyn Mazur (Percussion).

This CD is a continuous journey through a landscape constantly changing. Along the way, your ears will encounter simplicity, fragility, ferocity, sensitivity and a special sense of greatness in the smallest of details. From beautiful ballads of stormy moods to swinging jazz - everything beautifully executed by Margrete Grarup’s unique and expressive voice. Each track has an identity of its own - still, they all come together and make a whole.

Walk With Me includes new, wondrous takes on classics such as “Georgia on My Mind”, “Strange Fruit” and “My Funny Valentine” along with some of the musician’s own compositions which in combination creates a soulfully meditative and with every turn delightfully unknown journey to be experienced. Margrete Grarup is an educated soloist from Nordjysk Musikkonservatorium and knows how to balance the power of her voice with delicate nuances and a certain humility.

Personnel:
Margrete Grarup (Vocal)
Mads Vinding (Bass)
Carsten Dahl (Piano)
Marilyn Mazur (Percussion)
Poul Halberg (Guitar)
Peter Weniger (Saxophones)
Rasmus Stenholm (Hammond Organ)

Walk With Me

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Paul Desmond - Take Five: The Best Of Cool Saxophone

Styles: Cool jazz, Mainstream Jazz

Year: 2004

File: MP3@320K/s

Time: 56:50

Size: 138,7 MB

Art: Front

( 2:58)  1. Take Five'59

( 9:39)  2. Romance De Amour'73

( 5:20)  3. Skylark'73

( 6:07)  4. Take Ten'73

( 3:35)  5. Audrey54

(19:18)  6. Concerto De Aranjuez'75

( 3:06)  7. Koto Song'64

( 6:43)  8. Music For A White'73

Paul Desmond is widely recognized for his genius as a melodic improviser and as the benchmark of cool jazz sax players. His warm, elegant tone was one that he admittedly tried to make sound like a dry martini. He and Art Pepper were virtually the only alto players of their generation not directly influenced by Charlie Parker. Desmond was influenced by Lester Young, but took it further, into melodic and harmonic worlds never before traveled by reedmen especially in the upper registers. Desmond is best known for his years with the Dave Brubeck Quartet (1959-1967) and his well-known composition "Take Five." He met Brubeck in the late '40s and played with his Octet. The Quartet formed toward the end of 1950 and took final shape with Eugene Wright and Joe Morello a few years later. Jazz at Oberlin and Take Five were considered essential purchases by college students of the era, but Jazz Impressions of Japan was its most innovative recording. Desmond played his loping, slow, ordered, and intricate solos in direct contrast to the pianist's obsession with large chords, creating a myriad of textures for melodic and rhythmic counterpoint unlike any heard in jazz. His witty quotations from musicals, classical pieces, and folk songs were also a watermark of his artistry. When the Quartet split in 1967, Desmond began an intermittent yet satisfying recording career. It included dates with Gerry Mulligan for Verve, various sessions with Jim Hall, and a concert with the the Modern Jazz Quartet. He played his last gigs with the Brubeck Quartet at reunions before dying of lung cancer. Desmond's recordings for RCA have gotten box-set treatment and Mosaic issued one of the complete sessions with Hall. There are also reissues from A&M and CTI, though recordings on Artist House and Finesse remain regrettably out of print.~Thom Jurek http://www.allmusic.com/artist/paul-desmond-mn0000069348/biography

Take Five

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Emily Remler - Firefly

Styles: Guitar Jazz
Year: 1981
File: MP3@320K/s
Time: 40:16
Size: 92,6 MB
Art: Front + Back

(5:34)  1. Strollin'
(5:27)  2. Look To The Sky
(4:10)  3. Perk's Blues
(4:10)  4. The Firefly
(5:35)  5. Movin' Along
(2:14)  6. A Taste Of Honey
(5:13)  7. Inception
(7:49)  8. In A Sentimental Mood

It sounds very clichéd to say that many of music's best and brightest have lived fast and died young, but it is so true. From Jimi Hendrix to Charlie Parker to Patsy Cline, the 20th century was full of talented artists whose lives were cut short by their self-destructive ways. In an ideal world, Emily Remler would have had a very long career and made it to seventy or eighty; instead, the guitarist used heroin and died of a heart attack at 32. Firefly was Remler's first album as a leader, and it is a promising debut. Joined by pianist Hank Jones, bassist Bob Maize, and drummer Jake Hanna, a 24-year-old Remler delivers an enjoyable hard bop date. The album isn't groundbreaking by early-'80s standards although Firefly was recorded in 1981, it sounds like it could have been recorded in 1961. But there is no law stating that every young jazz musician who comes along has to reinvent the wheel, and Remler (whose influences include Wes Montgomery and Herb Ellis) brings a lot of potential to lively, swinging performances of Horace Silver's "Strollin'," McCoy Tyner's "Inception," and Montgomery's "Movin' Along." The New Jersey native also provides two original tunes ("Perk's Blues" and "The Firefly") and pleasantly surprises listeners by unearthing a pretty but lesser-known Antonio Carlos Jobim song titled "Look to the Sky." Unlike "The Girl From Ipanema," "Corcovado," or "One Note Samba," "Look to the Sky" is far from a standard; however, Remler's heartfelt interpretation demonstrates that the Jobim melody deserves to be much better known. With Firefly, Remler's recording career was off to an appealing start a career that should have been much, much longer.~Alex Henderson http://www.allmusic.com/album/firefly-mw0000076149

Personnel: Emily Remler (guitar), Hank Jones (piano), Bob Maize (bass), Jake Hanna (drums).

Firefly

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Don Cherry,Dewey Redman,Charlie Haden,Ed Blackwell - Old And New Dreams

Styles: Trumpet Jazz
Year: 1976
File: MP3@320K/s
Time: 44:02
Size: 102,2 MB
Art: Front

( 6:57)  1. Handwoven
( 5:57)  2. Dewey's Tune
( 7:39)  3. Chairman Mao
( 6:48)  4. Next To The Quiet Stream
(10:12)  5. Augmented
( 6:27)  6. Old And New Dreams

The first album from this key group of Ornette Coleman alums an all-star combo that features work from Don Cherry on pocket trumpet, Dewey Redman on tenor, Charlie Haden on bass, and Ed Blackwell on drums! The sound here is quite Ornette-inspired at times with a definite late 70s harmelodic groove but given the organic, acoustic nature of the lineup, the sound is almost more faithful to Coleman's vision than Ornette's records of the time. Haden and Blackwell are great together, as always driving the tunes with a rhythmic force that Cherry and Redman can't help but carry through. Titles include "Handwoven", "Dewey's Tune", "Chairman Mao", "Next To The Quiet Stream", "Augmented", and "Old & New Dreams". © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/78320

Personnel: Don Cherry ( Trumpet );  Dewey Redman ( Tenor Sax, Musette );  Charlie Haden ( Bass );  Ed Blackwell ( Drums )

Old And New Dreams

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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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