Onna Project - Un Hogar

Size: 177,7 MB
Time: 76:28
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Little Bird (4:09)
02. Let Me Cry (6:20)
03. Riddles (7:34)
04. Now That I Know (5:29)
05. My Home Should Be (3:57)
06. Un Hogar (8:55)
07. Billie Jean (5:36)
08. Platform (8:30)
09. Cry Me A River (6:16)
10. Txoria Txori (6:54)
11. Unstoppable Water (7:02)
12. L'arbre I L'ocell (5:41)

Onna Project es una mezcla vibrante, elegante y moderna de jazz con ritmos funk, afro, una voz profunda que nada entre el soul, el r&b y el jazz con influencias de raíz, que van desde el Mediterráneo hasta el Cantábrico.
Acaban de grabar un disco autoeditado y autoproducido que estrenarán este año llamado Un Hogar.
Empezaron su andadura en el 2012 y desde entonces han tocado por todo el país, han ganado el Certamen Internacional de jazz de Talavera, han tocado en el Festival de Jazz de Getxo y han obtenido el reconocimiento de expertos y del público, tanto de jazz como de otros estilos.

Un Hogar

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Kim Waters - Rhythm And Romance

Size: 103,6 MB
Time: 44:34
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Smooth Jazz
Art: Front

01. Bring It (4:27)
02. No Sleeep (3:56)
03. Rhythm And Romance (4:28)
04. Forever Yours (4:16)
05. Morning Star (4:13)
06. Time Will Reveal (4:23)
07. Smoothness (4:59)
08. Can't Let You Go (5:15)
09. Heaven's Gate (4:10)
10. I'm Not The Only One (4:22)

Smooth Urban Jazz superstar Kim Waters has sold over one million albums in his more than 20 years of touring and recording. Loved by R&B and Jazz fans alike, his crossover appeal, twenty Smooth Jazz number 1 radio hits, and dynamic performances have placed him among the elite in his field.

Rhythm and Romance, Kim's most satisfying release yet, has it all.

Cover versions of the Janet Jackson smash No Sleep featuring Chris Big Dog Davis, Sam Smith's multi platinum I'm Not the Only One and Kim's reimagining of the DeBarge classic Time Will Reveal.

Surefire radio hits the joyful Waters original Vibin', the spirited Feelin' It and the romantic ballads Moments With You, In Deep and much more.

Rhythm And Romance

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Carolyn Lee Jones - In A Long White Room

Size: 102,1 MB
Time: 41:25
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. In A Long White Room (2:40)
02. Tainted Love (4:41)
03. Piano In The Dark (4:43)
04. Moondance (4:22)
05. Creepin' (2:27)
06. 98.6 (4:31)
07. Give A Damn (3:07)
08. Like To Get To Know You (3:49)
09. Happy Together (2:45)
10. The Sweetest Taboo (4:23)
11. Midnight At The Oasis (3:24)
12. In A Long White Room (Reprise) (0:25)

“In A Long White Room” is classic vintage pop united with jazz-tinged arrangements. 60's & 70’s favorites are renewed with swinging rhythms, straight-ahead jazz & Latin grooves, soulful & sultry ballads, and a touch of R&B. These songs have been a part of me for a very long time. Now, I call them “vintage pop”! If you give this CD a listen from start to finish, I know you’ll feel where I’m coming from! Each song paints a vivid picture in my mind of when and where! Perhaps it will do the same for you.

My wonderfully talented bandmates are Brad Williams (piano), Jonathan Fisher (electric & acoustic bass), Dennis Durick (drums & percussion), Tom Burchill (guitar), Dave Monsch (flute,bass clarinet, saxes). Tracks 2&9 originally released in 2008 and remixed for this CD were recorded with my NYC trio Wells Hanley (piano), Saadi Zain (bass) and Jacob Melchior (drums).

In A Long White Room

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Lee Wiley - Sings The Songs Of Rodgers & Hart And Harold Arlen

Bitrate: MP3@320K/s

Time: 48:14

Size: 110.4 MB

Styles: Standards, Vocal jazz

Year: 1980/1990

Art: Front

[3:11] 1. Baby's Awake Now

[3:24] 2. Here In My Arms

[2:52] 3. You Took Advantage Of Me

[3:00] 4. A Little Birdie Told Me So

[3:28] 5. A Ship Without A Sail

[2:51] 6. I've Got Five Dollars

[3:13] 7. Glad To Be Unhappy

[2:29] 8. As Though You Were There

[3:16] 9. Let's Fall In Love

[2:52] 10. Moanin' In The Mornin'

[2:40] 11. Between The Devil And The Deep Blue Sea

[2:53] 12. Stormy Weather

[2:46] 13. Down With Love

[2:53] 14. I've Got The World On A String

[3:23] 15. Fun To Be Fooled

[2:56] 16. You Said It

Lee Wiley pioneered the "songbook" concept, for which a singer exclusively interpreted the work of one composer. Her Gershwin and Cole Porter projects of 1939-40 were major successes, as is the music on this Audiophile reissue. In a fairly straight but strangely sensuous manner, Wiley sings eight songs apiece by Rodgers & Hart and Harold Arlen while backed by a variety of all-star players associated with Eddie Condon, including pianist Joe Bushkin, trumpeters Max Kaminsky, Billy Butterfield and Bobb Hackett, tenor saxophonist Bud Freeman, and Ernie Caceres on baritone and clarinet. Although many of these songs have been interpreted countless times since, few singers have reached the emotional peaks that Lee Wiley scaled in her versions of "A Ship Without a Sail," "Let's Fall In Love," "I've Got the World On a String," "Down With Love" and especially "Glad to Be Unhappy." This set (along with the previous one) belongs in every serious jazz collection. ~Scott Yanow

Sings The Songs Of Rodgers & Hart And Arlen

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Wynton Kelly - Piano

Bitrate: MP3@320K/s
Time: 46:56
Size: 107.4 MB
Styles: Hard bop, Piano jazz
Year: 1959/1989
Art: Front

[7:06] 1. Whisper Not
[7:07] 2. Action
[5:54] 3. Dark Eyes
[5:19] 4. Dark Eyes (Take 2)
[5:12] 5. Strong Man
[4:20] 6. Ill Wind
[5:32] 7. Don't Explain
[6:22] 8. You Can't Get Away

In January 1958, producer Orrin Keepnews brought pianist Wynton Kelly and guitarist Kenny Burrell into the studio. Although he had for years been a highly regarded sideman with the likes of Dizzy Gillespie, Lester Young and Dinah Washington, Kelly had only cut one date as a leader prior to this -- and that had been seven years earlier. Whisper Not showcases Kelly and Burrell in a trio setting with bassist Paul Chambers, and for one side adds drummer Philly Joe Jones. The tunes include Harold Arlen's "Ill Wind," Billie Holiday's "Don't Explain," and the title track, penned for the Gillespie band by Benny Golson. Unfortunately, Kelly is not given an opportunity to shine in the conventional piano trio setting -- with only bass and drums -- a format in which he excelled. His distinctive drive and buoyant swing feel is in evidence, however, and despite a less than perfect audio mix (a bit dry), Whisper Not is recommended as an important recording in the oeuvre of Wynton Kelly. ~Lee Bloom

Piano

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The Ames Brothers - Down Memory Lane With The Ames Brothers

Bitrate: MP3@320K/s
Time: 31:01
Size: 71.0 MB
Styles: Vocal harmony group
Year: 1964/2014
Art: Front

[1:36] 1. When My Sugar Walks Down The Street
[2:40] 2. Don't Blame Me
[2:33] 3. I'm Beginning To See The Light
[2:17] 4. You And I
[2:04] 5. You Were Meant For Me
[2:43] 6. Por Favor
[2:45] 7. Anniversary Song
[3:25] 8. Oh What It Seemed To Be
[2:36] 9. Gotta Be This Or That
[2:18] 10. Remember
[2:23] 11. All I Do Is Dream Of You
[3:33] 12. I Couldn't Sleep A Wink Last Night

A close-harmony vocal quartet with few equals during the '50s, the Ames Brothers hit number one in 1950 with "Sentimental Me," and found their biggest hit three years later with "You, You, You." Though they were indeed a family group, the Ames Brothers' surname was actually Urick. Joe, Gene, Vic and Ed were all born within four short years of each other in Malden, Massachusetts. After winning a few talent contests in their hometown, the group moved to Boston and began performing in nightclubs. They soon made the leap to New York and even Los Angeles, and signed to the Coral label in late 1958. After a few moderate hits, the Ames Brothers hit big in early 1950 with a double-sided number one hit, "Rag Mop"/"Sentimental Me." The B-side eventually triumphed over its flip, and the group hit again later in 1951 with "Undecided." The biggest hit of the Ames Brothers' career was 1953's "You You You," and their continued success during 1954 with "The Naughty Lady of Shady Land" bore fruit in the form of their own television program.

Though the quartet continued to record throughout the '50s, the dawn of the rock era definitely damaged their career; the group managed two Top Ten hits in 1957 ("Tammy," "Melodie d'Amour"), but then folded in 1959. Ed, the youngest Ames brother, continued a performing career and appeared as an Indian named Mingo on the Daniel Boone TV series before hitting the Top Ten as a solo act with 1967's "My Cup Runneth Over." He also appeared on Broadway. ~bio by John Bush

Down Memory Lane With The Ames Brothers

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Bob Sneider, Joe Locke - Nocturne For Ava

Bitrate: MP3@320K/s
Time: 70:15
Size: 160.8 MB
Styles: Contemporary jazz
Year: 2004
Art: Front

[6:45] 1. Last Tango In Paris
[5:54] 2. Afterglow
[7:31] 3. Theme From Blow Up
[6:10] 4. Laura
[5:54] 5. Black Dahlia
[6:12] 6. Windmills Of Your Mind
[5:51] 7. Nocturne For Ava
[7:12] 8. Kiss Me, Kill Me
[6:57] 9. I Want To Live
[5:19] 10. Flirtbird
[6:25] 11. Los Feliz

John Sneider: trumpet; Grant Stewart: tenor; Bob Sneider: guitar; Joe Locke: vibes; Paul Hofmann: piano; Martin Wind: bass; Tim Horner: drums; Luisito Quintero: percussion.

In 2006, guitarist Bob Sneider and vibraphonist Joe Locke assembled a collective devoted to the jazz soundtrack of noir fiction called The Film Noir Project. That same year they released Fallen Angel (Sons of Sound). Switching labels, Sneider and Locke release their second Film Noir Project installment in Nocturne for Ava, honoring the brunette bombshell Ava Gardner and her contributions to the noir genre like the film adaptation of Ernest Hemingway's The Killers.

It is a subtle hypnotism Sneider and Locke perform by naming their collective The Film Noir Project. Billed as being dedicated to the spirit of the jazz soundtrack as part of film noir sets up certain expectations. Cleverly, The Film Noir Project immediately stimulates aural images of smoky saxophones and martini-bright brass complementing the environs of West Coast crime in the '40s and '50s. While this expectation is partially realized, The Project polishes the concept with brass cleaner to a high sheen.

Nocturne for Ava consists of eleven selections, eight of which are reinterpretations of noir soundtracks with the remainder being stylized realizations of the genre. The Project is nominally an octet, or sub-atomically a trumpet- saxophone quintet with guitar, vibes, and percussion. Sneider, Locke, and percussionist Luisito Quintero are the added degrees of freedom to this quintet equation that provide the noir atmospherics. An early example is Sneider and Locke weaving a gossamer spell beneath John Sneider's muted trumpet on Mark Isham's "Afterglow." The pair state the piece's extended melody languidly while drummer Tim Horner (using brushes) and pianist Paul Hofmann, equally languid, add color and grit.

Herbie Hancock's "Theme From Blow Up" is deftly stated by Hofmann and Locke and propelled by drummer Horner and percussionist Quintero. The musical effect is of a fast moving urban landscape like that of the movie's center of London. Of the originals, Sneider's "Black Dalia" and Locke's title piece readily mesh with the directed compositions in both execution and the atmosphere that results. The theme of film noir soundtrack works well and this group ably interprets the theme. ~C. Michael Bailey

Nocturne For Ava

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Lee Konitz - Round & Round

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 54:32
Size: 125,0 MB
Art: Front

(7:33)  1. Round and Round and Round
(5:10)  2. Someday My Prince Will Come
(6:16)  3. Luv
(4:51)  4. Nancy
(5:34)  5. Boo Doo
(6:27)  6. Valse Hot
(4:33)  7. Lover Man
(6:56)  8. Blusette
(7:08)  9. Giant Steps

The most unusual aspect to this outing by altoist Lee Konitz is that all nine selections are performed in 3/4 time. "Someday My Prince Will Come" and Sonny Rollins's "Valse Hot" were originally waltzes but "Lover Man," "Bluesette" and particularly "Giant Steps" were never recorded in that time signature before. 

With the assistance of pianist Fred Hersch, bassist Mike Richmond and drummer Adam Nussbaum, Konitz manages to uplift this session above the level of a potential gimmick and finds unexpected beauty in these standards and originals.~Scott Yanow http://www.allmusic.com/album/round-and-round-mw0000200509

Personnel: Lee Konitz (soprano saxophone, alto saxophone); Fred Hersch (piano); Mike Richmond (bass instrument, bass guitar); Adam Nussbaum (drums).

Round & Round

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Perla Batalla - Bird on the Wire: The Songs of Leonard Cohen

Styles: Vocal

Year: 2005

File: MP3@320K/s

Time: 53:09

Size: 122,0 MB

Art: Front

(4:40)  1. If It Be Your Will

(4:21)  2. Seems So Long ago Mancy

(4:04)  3. Coming Back to You

(5:23)  4. Dance me to the end of Love

(6:58)  5. So Long Marianne

(3:14)  6. Came so far for Beauty

(6:16)  7. Ballad of the Absent Mare

(5:11)  8. Famous Blue Raincoat

(6:55)  9. Bird On the Wire

(6:02) 10. Suzanne

Leonard Cohen’s gruff voice has kept many from properly appreciating the brilliance and utter romanticism of his songs. Perla Batalla here lovingly wraps her warm voice around 10 of them to glorious results. The best are the ones where she takes the most liberties: “Famous Blue Raincoat” backed by a string quartet, a jazzy “Seems So Long Ago, Nancy,” “Ballad of the Absent Mare” as a duet with David Hidalgo of Los Lobos, “Dance Me to the End of Love” as a duet with Bill Gable partially translated into Spanish, “Suzanne” cleverly interpolating bits of Steven Foster’s “O Susanna.” The sound is sumptuous. Engineer/mixer Leanne Unger is an excellent choice for the project as she has worked on many of Cohen’s own albums over the years. Her sympathy and love for Cohen’s songs, plus her familiarity with them, greatly enhances the album. The three cover shots of Perla Batalla and Leonard Cohen sharing warm moments speaks volumes both to Perla’s sincerity and love for Cohen’s songs and Cohen’s endorsement of Perla’s work. Beautifully conceived and executed, Bird on the Wire is a rewarding listening experience I find myself returning to frequently. It is every bit the equal of Jennifer Warnes’ classic Cohen tribute album Famous Blue Raincoat. For those uninitiated to the glories of the songs of Leonard Cohen this is a wonderful introduction. For the rest of us it is simply heavenly.~ Michael Tearson http://www.amazon.com/Bird-Wire-Songs-Leonard-Cohen/dp/B000CAJQC6

Bird on the Wire: The Songs of Leonard Cohen

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Joel Frahm - We Used To Dance

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 61:01
Size: 140,9 MB
Art: Front + Back

(6:08)  1. Bob's Blues
(6:43)  2. Nad Noord
(8:57)  3. Joanne Julia
(4:24)  4. A Whole New You
(7:54)  5. Spring Can Really Hang You Up The Most
(4:29)  6. Jobimiola
(5:59)  7. My Ideal
(6:23)  8. Song For Abdullah
(4:23)  9. The Dreamer
(5:38) 10. We Used To Dance

Joel Frahm is a big, gentle looking man with a big, warm sound on the tenor saxophone. On We Used To Dance, he reunites with pianist Kenny Barron, with whom Frahm studied at the Rutgers University jazz program. Frahm has also enlisted the services of the rest of the rhythm section that contributed so much to the later recordings of Stan Getz: bassist Rufus Reid and drummer Victor Lewis. The result is a solid disc of outstanding music. Frahm can play, and shows it on all ten tracks, including two well-known standards ("Spring Can Really Hang You Up the Most" and "My Ideal"), two of Barron's fine compositions ("Joanne Julia" and "Song for Abdullah") and six Frahm originals. "Bob's Blues" belies Frahms's contention in the liner notes that his originals are "another baby step in my continuing attempts to write music." This fine piece is far more than that, evoking an irresistible late night vibe. As he does throughout the disc, Barron quickly establishes that he is not simply sitting in to comp behind a former student; he solos beautifully, connecting with Frahm in a sustaining musical partnership.

On Frahm's aptly titled "Jobimiola," Lewis opens and the band jumps into a swinging Brazilian-inflected romp. Frahm is clearly enjoying himself as he quotes "You and the Night and the Music," then heads back towards more Tom Jobim-like riffs. Lewis and Reid create a compelling context for Frahm's entrance to "Song for Abdullah." Throughout the recording, the bassist and drummer are consistently tasteful and musical, whether soloing or keeping time behind Frahm and Barron. "Spring Can Really Hang You Up the Most" highlights Frahm's gorgeous tone on the tenor. In his interplay with Barron he establishes clearly that this is far more than a recital by teacher and graduate. Frahm has learned his musical lessons well, and his ample talent establishes him as an equal participant in music making with these three outstanding players.~Geoff Mirelowitz https://www.allaboutjazz.com/we-used-to-dance-joel-frahm-anzic-records-review-by-geoff-mirelowitz.php
 

Personnel: Joel Frahm: tenor saxophone; Kenny Barron: piano; Rufus Reid: bass; Victor Lewis: drums.

We Used To Dance

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Archie Shepp - Something To Live For

Bitrate: MP3@320K/s
Time: 56:06
Size: 128.4 MB
Styles: Saxophone & vocal jazz
Year: 1997
Art: Front

[ 5:58] 1. A Flower Is A Lovesome Thing
[ 5:51] 2. My Foolish Heart
[ 4:32] 3. Strange Fruit
[ 8:39] 4. You're Blasé
[ 5:29] 5. Something To Live For
[ 6:59] 6. Georgia On My Mind
[10:32] 7. Hello, Young Lovers
[ 8:01] 8. California Blues

Archie Shepp: Vocals and Tenor Sax: Eddie Henderson: Trumpet, Flugelhorn: John Hicks; Piano: George Mraz; Bass: Idris Muhammad; Drums: Steve McCraven; drums (track 8).

While making every attempt at identifying any inherent musical attributes that result in positive feelings or thoughts, this writer struggled with Archie Shepp’s futile stabs at vocalizing through an array of tried and true jazz standards. Archie Shepp’s place in Modern Jazz history as an innovative stylist and improviser is etched in stone; however, on “Something To Live For” Shepp stumbles through classics such as “My Foolish Heart” and “Georgia On My Mind”. Shepp gets by to some degree when he stays within his low register baritone, rekindling memories of Johnny Hartman or Joe Williams but that’s where it ends. Whether or not Shepp had a vocal coach seems insignificant or a moot point. Not sure why Timeless Records released this but someone should have sent Archie an anonymous note stating that this was an ill-advised endeavor, especially for public consumption. On Billy Strayhorn’s “A Flower Is A Lovesome” Shepp commences with deep baritone phrasing. The problem here and throughout is when Mr. Shepp pushes his rather limited vocal chords to the upper registers which includes some scat singing et al. Shepp falls flat on his face and displays very little ability to attain pitch and melody. His swaggering tirades detract from the fine accompaniment provided by the stellar supporting cast of musicians. “Georgia On My Mind” is almost unbearable. Here, Shepp’s voice is garbled and off track. He engages this tune in reckless fashion and the results are dubious and embarrassing. This writer found it difficult to maintain interest and the listening experience was less than gratifying and that’s being kind.

Perhaps Archie Shepp realizes that this outing was a mistake. We can only hope that history won’t repeat itself and that this legendary jazz modernist will continue to enamor us with his brilliant saxophone play. ~Glenn Astarita

Something To Live For

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Eydie Gormé - The Wonderful Eydie Gormé

Bitrate: MP3@320K/s
Time: 53:56

Size: 123.5 MB

Styles: Vocal

Year: 2011

Art: Front

[2:54] 1. Besame Mucho

[2:20] 2. I'll Take Romance

[2:49] 3. Too Close For Comfort

[2:28] 4. Johnny One Note

[2:07] 5. Together (Wherever We Go)

[2:08] 6. Your Kisses Kill Me

[2:42] 7. To You From Me

[2:31] 8. After You've Gone

[2:12] 9. Don't Get Around Much Anymore

[3:26] 10. Stormy Weather

[2:02] 11. Kiss In Your Eyes

[3:22] 12. Who's Sorry Now

[2:28] 13. Singin' In The Rain

[2:24] 14. Chicago

[3:08] 15. Hello Young Lovers

[2:40] 16. Sentimental Me

[2:58] 17. When I Fall In Love

[2:50] 18. Why Shouldn't I

[2:04] 19. Button Up Your Overcoat

[2:05] 20. Tip Toe Through The Tulips With Me

[2:08] 21. I Wanna Be Loved By You

With her husband Steve Lawrence, Eydie Gorme, who has died aged 84, was one of the last survivors of an American show-business tradition that dated back to the big-band era and the golden age of lounge entertainment. Their stock-in-trade was their mastery of the classic American popular song, coupled with a comic act they had been developing since they first met in the early 1950s. Outside the duo Steve and Eydie, they both enjoyed successful solo careers. Gorme reached No 10 in Britain in 1962 with Yes, My Darling Daughter, and had a US top 10 hit the following year with Blame It on the Bossa Nova. The latter earned her a Grammy nomination for best female vocal performance and became something of a trademark song.

She was born Edith Gormezano in the Bronx, New York City. Her mother was Turkish, her father, a tailor, was Sicilian, and both were Sephardic Jews. The youngest of three children, brought up speaking English and Spanish, Gorme worked as a Spanish interpreter with the UN after graduating from William Howard Taft high school in 1946. But having sung in a band at school, she was determined to make a career in the entertainment business. By 1950 she was singing with Tommy Tucker's band, then moved on to Tex Beneke's ensemble before striking out on a solo career in 1952.

The Wonderful Eydie Gorme    

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Barry White - The Best Of Barry White

Bitrate: MP3@320K/s
Time: 46:46
Size: 107.1 MB
Styles: R&B
Year: 2003
Art: Front

[4:09] 1. I'm Gonna Love You Just A Little More, Baby
[3:59] 2. Never, Never Gonna Give You Up
[3:50] 3. Can't Get Enough Of Your Love, Babe
[3:38] 4. What Am I Gonna Do With You
[4:13] 5. Let The Music Play
[3:22] 6. It's Ecstasy When You Lay Down Next To Me
[3:35] 7. Playing Your Game, Baby
[3:13] 8. Oh What A Night For Dancing
[4:57] 9. Love Makin' Music
[3:57] 10. Under The Influence Of Love
[3:53] 11. Practice What You Preach
[3:55] 12. Staying Power

The late Barry White was the one voice that is easily recognizable in the early 1970s. Just when disco was spawned, he became well-known not just for the R & B audiences but for the pop mainstream. Thus, the songs that are included during his early days were big hits. Obviously, the one notable track missing is "You're My First, My Last, My Everything". I'm wondering why?

However, what makes this collection an "original" compared to previous hit collections is his last two songs: "Practice What You Preach" and "Staying Power". Getting those two songs would be worth it for the casual fan. ~Amazon

The Best Of Barry White

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Lee Konitz - Inside Hi-Fi

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 41:10
Size: 94,6 MB
Art: Front

(6:08)  1. Kary's Trance
(4:30)  2. Everything Happens To Me
(4:02)  3. Sweet And Lovely
(5:29)  4. Cork 'N' Bib
(5:10)  5. All Of Me
(5:21)  6. Star Eyes
(5:08)  7. Nesuhi's Instant
(5:19)  8. Indiana

This excellent recording (part of their 1987 Jazzlore series) features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are "Everything Happens to Me," "All of Me," and "Star Eyes," but all eight performances are well played and swinging.~Scott Yanow http://www.allmusic.com/album/inside-hi-fi-mw0000194310

Personnel: Lee Konitz (alto & tenor saxophones); Sal Mosca (piano); Billy Bauer (guitar); Arnold Fishkind, Peter Ind (bass); Dick Scott (drums).

Inside Hi-Fi

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Karin Krog / Jacob Young - Where Flamingos Fly

Styles: Vocal And Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 55:15
Size: 147,7 MB
Art: Front

(4:44)  1. Where Flamingos Fly
(5:08)  2. Prelude To A Kiss
(3:32)  3. Once I Loved
(4:29)  4. Last Night When You Were Young
(3:32)  5. I'm Shadowing You
(4:49)  6. I'll Be Seeing You
(5:26)  7. Caravan
(4:52)  8. Everything Happens To Me
(5:09)  9. Northern Sun
(5:13) 10. Cry Me A River
(3:17) 11. K.C. Blues
(4:59) 12. Everytime We Say Goodbye

Norways leading Lady in jazzmusic Karin Krogh gets together with young aspiring guitarplayer Jacob Young in another great duo album. Karin Krog is perhaps Norway's leading jazz singer and certainly its most idiomatic. She is a unique song artist with a great international reputation possessing her own recognizable style and voice. Her constant creative approach towards contemporary jazz has never been bound by tradition, even though her music bears a deep respect for its forms. Karin is equally at home with jazz standards, blues or electronic experimental techniques. In addition, she has been active in improving the working conditions for musicians and contributing towards a vital jazz milieu. In 1994 she celebrated 30 years since her first released LP as a solo artist. http://www.gubemusic.com/album_9002

Where Flamingos Fly

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Ed Cherry - Soul Tree

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 54:27
Size: 126,6 MB
Art: Front

(4:35)  1. Let the Music Take Your Mind
(6:55)  2. A New Blue
(5:01)  3. Rachel's Step
(4:59)  4. Soul Eyes
(5:20)  5. Little Sunflower
(6:11)  6. Central Park West
(4:59)  7. Little Girl Big Girl
(6:18)  8. Ode to Angela
(5:25)  9. In Your Own Sweet Way
(4:40) 10. Peace

Like any jazz recording worth its salt, Ed Cherry's Soul Tree, his second release for the Posi-Tone imprint, impresses on more than one level. Cherry's interpretations of often performed jazz standards Mal Waldron's "Soul Eyes," Dave Brubeck's "In Your Own Sweet Way," Horace Silver's "Peace," among others are exceptionally well drawn and stand up nicely in comparison to other versions. The disc's ten tracks include two of the leader's original compositions. For the most part Cherry keeps things relatively simple, illuminating the melody of each tune with aplomb and keeping embellishments to a minimum. Consisting of the leader's guitar, Kyle Koehler's organ, and the drums and cymbals of Anwar Marshall, the trio is fleet, cursive, almost casually articulate, short on blatant displays of ego and long on mutual support. Complete in itself, the trio possesses a fine, self-contained vibe that might suffer by the presence of another instrumental voice.

Straight-ahead swing, funk, bossa nova, and other stylistic grooves all feel natural and unforced. There's nothing artificial or unduly calculated about the funk to swing transitions in "Let The Music Take Your Mind," or the tasty funk coda that follows Marshall's lithe, swinging shout chorus drumming on "In Your Own Sweet Way." The guitarist's tone cuts through the band, yet it contains a slightly reserved quality, as if he's loath to stand out or take a dominant role. Cherry's brief, no nonsense intros on some of the tracks set the right tone, never overshadowing what's to come. Post out head activities are substantive and provide another perspective of the group's inner workings. During his solos, Cherry frequently lands on the beat, reinforcing the band's momentum and freeing Marshall to effusively make snapping, rumbling comments on various combinations of his drum kit at a relatively low volume. (In short, Marshall often plays a lot without standing out.) The guitarist also serves as a smart, incisive accompanist to Koehler, serving up terse, energetic chords that add an additional layer of rhythmic tension.

The difference between Cherry's and Koehler's solo styles is another one of the record's winning characteristics. The guitarist's improvisations are thoughtful and patient, filled with small, telling details, as well as subtle gradations of texture; he invariably leaves room for the music to breathe. His work on "Soul Eyes," "Central Park West," "Little Girl Big Girl," "In Your Own Sweet Way," and "Peace" seem to beg the question: Why play several notes when a single, shrewdly placed note will do? There's a laid-back quality to Cherry's solos that exists side by side with a bluesy sensibility. He gradually draws the listener into a refined, personal space rather than trying to make a dramatic impact. In contrast, Koehler is chatty, persistent, and often uses the instrument's resources to make overtly emotional points. He shrewdly mixes and matches ostensibly disparate ideas and displays a penchant for reaching mini-climaxes, yet never crosses the line into excess. Amidst all of this dense, somewhat agitated activity there's an orderly mind at work. Listen to "Little Sunflower" for Koehler's up-tempo effusions, and "A New Blue" for his pensive side. Top-notch material that is interpreted in a refreshingly straightforward manner, a band that wholeheartedly embraces unity, and soloists who speak concisely and with character: These are the things that make Soul Tree a recording that can be enjoyed by listeners new to jazz and aficionados as well.~David A.Orthmann https://www.allaboutjazz.com/soul-tree-ed-cherry-posi-tone-records-review-by-david-a-orthmann.php

Personnel: Ed Cherry: Guitar; Kyle Koehler: organ; Anwar Marshall: drums.

Soul Tree

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Ben Sidran - Old Songs For The New Depression

Styles: Vocal And Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 37:41
Size: 87,4 MB
Art: Front

(4:19)  1. Let's Get Away From It All
(4:22)  2. Easy Street
(5:26)  3. Old Folks
(5:00)  4. Turn To The Music
(4:48)  5. Steady Eddie
(3:08)  6. Making Whoopie
(2:16)  7. Piano Players
(4:28)  8. Dark Night
(3:50)  9. Nostalgia In Times Square

Competent fusion and light jazz outing from vocalist/composer and keyboardist (as well as journalist and broadcaster) Ben Sidran. 

He sings and plays in sometimes pleasing, other times inconsequential fashion, while the songs are expertly produced and casually performed.~Ron Wynn http://www.allmusic.com/album/old-songs-for-the-new-depression-mw0000200508

Personnel: Ben Sidran (vocals, piano); Richie Cole (alto saxophone); Bob Malach (tenor saxophone); Marcus Miller (bass); Buddy Williams (drums); Jerry Alexander (background vocals).

Old Songs For The New Depression

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Dr. Lonnie Smith - Boogaloo To Beck

Bitrate: MP3@320K/s
Time: 78:04
Size: 178.7 MB
Styles: Post bop, Soul jazz
Year: 2003
Art: Front

[9:35] 1. Paper Tiger
[5:52] 2. Tropicalia
[8:18] 3. Mixed Buziness
[7:09] 4. The New Pollution
[8:22] 5. Devils Haircut
[6:57] 6. Sexx Laws
[3:13] 7. Loser
[6:53] 8. Jack Ass
[6:56] 9. Where It's At
[5:26] 10. He's A Mighty Good Leader
[9:17] 11. Nobody's Fault

On this unusual set, organist Dr. Lonnie Smith, with guitarist Doug Munro, and (on five of the 11 selections) tenor-saxophonist David "Fathead" Newman do the improbable. On Boogaloo to Beck: A Tribute, Smith takes a full set of songs by rock performer Beck and turns them into funky soul-jazz. In fact, the results often sound like a late-1960s Blue Note album. The individual selections are not all that memorable or inspiring (it is doubtful that any of these Beck tunes will catch on in jazz), but Smith and his bandmates play quite well and deserve credit for trying to come up with fresh material for their grooves. ~Scott Yanow

Boogaloo To Beck

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The Drummonds - A Beautiful Friendship

Bitrate: MP3@320K/s
Time: 56:08
Size: 128.5 MB
Styles: Contemporary jazz, Piano jazz
Year: 2002
Art: Front

[5:52] 1. My One And Only Love
[5:45] 2. Body And Soul
[5:34] 3. Never Let Me Go
[5:38] 4. Little Girl Blue
[4:50] 5. Gone With The Wind
[4:57] 6. Once I Loved
[6:58] 7. Angel Eyes
[7:15] 8. Stella By Starlight
[4:31] 9. Everything
[4:44] 10. A Beautiful Friendship

Pianist Renee Rosnes, Billy Drummond (who was married to Rosnes at the time), and Ray Drummond (no relation to Billy) performed together on and off in New York since 1990. They realized they had something very special between the three -- the musical sympathy was palpable -- they approached producer Todd Barkan, and the collaboration led to three wonderful albums released by Videoarts.

A Beautiful Friendship, recorded in 2001, was The Drummonds' third CD. As are the group's other two albums, the materials are well-known jazz standards except for "Everything," Japanese pop singer Misia's hit tune from 2000. This kind of music tends to be somehow undervalued in the US, but their creative arrangements and collective improvisations are inspired and exciting. Recommended to lovers of piano trio jazz, and a must-have reissue for fans of Renee Rosnes!

A Beautiful Friendship

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Eddie Manion - Nightlife

Bitrate: MP3@320K/s
Time: 52:33
Size: 120.3 MB
Styles: Crossover jazz, Saxophone jazz
Year: 2015
Art: Front

[2:53] 1. Town Without Pity
[5:24] 2. Tenderly
[1:42] 3. Amazing Grace
[4:39] 4. A Change Is Gonna Come
[4:28] 5. Smoke Gets In Your Eyes
[5:56] 6. City Of Night-Soul Serenade
[3:54] 7. It's Gonna Take A Miracle
[4:00] 8. Stardust
[5:46] 9. Bolo Blues
[5:03] 10. Nightlife
[5:00] 11. Manha De Carnaval
[3:42] 12. The Only One

The luscious bold sound of Eddie Manion’s tenor and baritone sax playing has illuminated the work of blues, jazz, and rock artists like Bruce Springsteen, Willy DeVille, Robert Cray, and Southside Johnny (to name a few) for decades. Manion’s first instrumental solo record features songs that he’s loved over his many years as a masterful player. His take on Gene Pitney’s gorgeously mournful “Town Without Pity”; R&B classics such as “It’s Gonna Take A Miracle” and “A Change is Gonna Come”; Jimmy Forrest’s “Bolo Blues”; Jazz standards “Smoke Gets in Your Eyes” “Tenderly” and “Stardust”. Springsteen deep cut “City at Night” paired brilliantly with King Curtis’ “Soul Serenade”; Roy Orbison’s “The Only One”; Luiz Bonfá's "Manhã de Carnaval" and the bluesy title cut "Nightlife" by Willie Nelson make for a sweet, soulful, and romantic mix. Downright perfect for romantic, cuddly evenings in front of the fireplace with your loved one.

Nightlife

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