Saturday, June 25, 2016

Reuben Wilson - The Sweet Life

Bitrate: MP3@320K/s
Time: 33:20
Size: 76.3 MB
Styles: Jazz-Funk-Soul
Year: 1972/2008
Art: Front

[4:44] 1. Inner City Blues (Make Me Wanna Holler)
[5:30] 2. Cream Puff
[6:11] 3. Sugar
[6:24] 4. I'll Take You There
[6:12] 5. The Sweet Life
[4:16] 6. Never Can Say Goodbye

After a series of sugary soul-jazz dates for Blue Note, Reuben Wilson resurfaced on Groove Merchant with The Sweet Life. The title notwithstanding, the session is his darkest and hardest-edged to date, complete with a physicality missing from previous efforts. Credit tenor saxophonist Ramon Morris, trumpeter Bill Hardman, guitarist Lloyd Davis, bassist Mickey Bass, and drummer Thomas Derrick, whose skin-tight grooves sand away the polished contours of Wilson's organ solos to reveal their diamond-sharp corners. The material, while predictable (i.e., standbys like "Inner City Blues" and "Never Can Say Goodbye"), is nevertheless well suited to the set's righteous funk sound. ~Jason Ankeny

The Sweet Life

Eddie 'Lockjaw' Davis - Body & Soul

Bitrate: MP3@320K/s
Time: 33:15
Size: 76.1 MB
Styles: Bop, Saxophone jazz
Year: 1998
Art: Front

[5:05] 1. Leapin' On Lennox
[7:04] 2. On Green Dolphin Street
[4:09] 3. Body And Soul
[3:19] 4. Quiet Nights
[4:22] 5. Just Friends
[4:38] 6. Mean To Me
[4:35] 7. I Can't Get Started

This CD by Eddie "Lockjaw" Davis was initially issued by Black & Blue under the title Leapin' on Lenox. This Laserlight budget edition eliminates one track ("The Shadow of Your Smile") and has several misspelled and incomplete composer credits. Aside from this problem, the sound quality of this edition is very good, with Davis in robust form, accompanied by pianist Milt Buckner, bassist Jimmy Gourley, and drummer Gus Johnson. Davis' strutting blues "Leapin' on Lenox" proves to be a smashing opener, followed by a spirited "On Green Dolphin Street," which alternates between a Latin setting and hard bop. Davis is also a masterful interpreter of ballads, as heard in the lush setting of "Body and Soul," while his interpretation of "I Can't Get Started" opens with a playful exchange between the leader and the pianist. Due to the difficulty of acquiring the European edition of this music at a reasonable price for many fans, this U.S. reissue may fill the bill, even with one less track. ~Ken Dryden

Body & Soul

Jack Sheldon - Live In New Orleans

Size: 121,4 MB
Time: 52:29
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz Vocals
Art: Front

01. Yo' Momma (Live) (9:20)
02. Don't Get Around Much Anymore (Live) (7:45)
03. Historia De Un Amor (Live) (3:00)
04. I Was Ready (Live) (2:06)
05. The One I Love Belongs To Somebody Else (Live) (8:00)
06. Rosetta (Live) (8:13)
07. Corcovado (Live) (6:11)
08. The Joint Is Jumping (Live) (7:51)

Former Merv Griffin stooge, trumpeter/singer Sheldon is joined by Dave Frishberg, piano; John Pisano, guitar; Dave Stone, bass and Frankie Capp on drums. Even though Sheldon is best known for his 16 years as musical director on the Griffin show, he did play with the Stan Kenton and Benny Goodman bands in the 50’s. This new image of Sheldon shows him rollicking and swinging in the bop tradition. Short interviews between tunes reveal a most serious artist who reflects on influences like Charlie Parker, Chet Baker and Louis Armstrong.

MC
Ziddu

Luba Mason - Mixtura

Size: 122,6 MB
Time: 53:06
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz, World
Art: Front

01. Freedom (Feat. Randy Brecker & Jimmy Haslip) (3:06)
02. On The Fourth Of July (Feat. Dori Caymmi & Kenny Loggins) (3:24)
03. Moondance (Feat. Al Jarreau) (4:35)
04. Beautiful (3:56)
05. Last Snowfall (Feat. Vadim Neselovskyi & Randy Brecker) (9:39)
06. Love For Sale (2:50)
07. Pale Blue Eyes (5:06)
08. Calm Before The Storm (Feat. Mariachi Flor De Toloache) (3:54)
09. Hannah (4:03)
10. Motherland (4:42)
11. All That Jazz (5:01)
12. Voi Che Sapete (2:45)

* Huffington Post : "Luba Mason is a force of nature. From the moment she hits the stage, you feel the pulse...hers and yours." ..."She goes deep and we want to dive with her." - Nancy Cohen

* BistroAwards.com :..."her voice soared from smokey bassoon to blaring soprano sax. She ended on a note that's heroin in your veins. It's addictive, you are in it's thrall, ready for the next hit. This classically trained singer, actress has charisma, stage presence and talent in spades...if there's anything she can't do well, it's not on display in this show called MIXTURA." - Tonya Pinkins

* Times Square Chronicles : "Broadway and recording artist Luba Mason ismore than a singer, she is a song interpreter, who knows how to use those vocal chops to seduce and bring you on whatever journey she wants you to come along." - Suzanne Bowling

* Theater Pizzazz : "Tall, slender and self assured, Luba Mason radiated warmth and enthusiasm for twisting familiar songs into new shapes in her new show titled MIXTURA." - Joel Benjamin

Mixtura

Judy Carmichael & Harry Allen - Can You Love Once More

Size: 146,5 MB
Time: 63:02
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Make Me An Offer I Can't Refuse (6:15)
02. June Song (4:04)
03. There Was Once A Time (5:10)
04. This Is My Lucky Day (3:29)
05. Take Me Back To Machu Picchu (3:56)
06. The One For You (6:25)
07. An Almost Perfect Man (4:53)
08. Pluto You're For Me (5:08)
09. Meant To Be (4:02)
10. A Lonely Breeze (5:35)
11. If Only There Were Time (7:15)
12. Can You Love Once More (6:44)

Can You Love Once More? boasts an all-star line-up headed by multiple Emmy and Grammy winner Mike Renzi on piano (who presently serves as Music Director for Tony Bennett), drummer Alvin Atkinson, bassist Mike Karn, Harry on sax and Judy on vocals.

The songs of Carmichael and Allen range from hilarious adventures in love—Take Me Back to Machu Picchu, If Only There Were Time, Make Me An Offer I Can’t Refuse and An Almost Perfect Man, to different types of love objects—Pluto You’re For Me, Can You Love Once More? (written for Harry’s rescue cat, pictured on the cover with a portrait by Harry’s wife, Ivana Falconi) to songs of profound pain, A Lonely Breeze and There Was Once A Time, to celebrations of life, This is My Lucky Day, Meant To Be, The One For You and June Song.

MC
Ziddu

Bob Baldwin - The Brazilian-American Soundtrack

Size: 166,9+179,2 MB
Time: 71:33+76:55
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Soul, Smooth Jazz
Art: Front

CD 1:
01. Funky Rio (8:49)
02. Ipanema Fusion (6:35)
03. Teardrop (Feat. Ragan Whiteside) (5:47)
04. Caipirinha (Feat. Torcuato Mariano) (7:19)
05. Corcovado - The Redeemer (Feat. Torcuato Mariano) (5:17)
06. Greatest Lover (Feat. Zoiea) (4:45)
07. Boa Noite (1:53)
08. Looking At Me (Feat. Gigi) (5:44)
09. Anjo De Mim (5:57)
10. The Island (Feat. Leo Gandelman) (4:01)
11. Eu Te Devoro (5:32)
12. Oasis (4:59)
13. Love Dance - May I Have This Dance (4:47)

CD 2:
01. Children Of The Sun (Feat. Cafe Da Silva) (4:01)
02. Home From Work (5:42)
03. The Sound Of His Voice (For Maurice White) (7:28)
04. My Soul (6:09)
05. For You (Feat. Porter Carroll) (5:26)
06. Summer Madness (Feat. James Crab Robinson) (Remix 3000) (5:58)
07. Yesterday (6:53)
08. South Of The Border (7:06)
09. Mobile And Global (Feat. Mark Gabriel Hasselbach) (5:11)
10. Summer's Over (6:27)
11. I Need The Air (You Breathe) (6:09)
12. State Of Mind (7:25)
13. The Message (A Maurice White Dedication) (2:52)

The Bob Baldwin love affair with Brazil began with his love of Antonio Carlos Jobim, Joao Gilberto and Sergio Mendes as a child. His love elevated when he witnessed the marriage of American Funk/Jazz and the Samba/Bossa Nova sound, which was later explored by the likes of Djavan, Ivan Lins, Elaine Elias, George Duke, Maurice White, and Pat Metheny. Fast forward, Baldwin follows up his experimental Brazil Chill (2004) disc with more flavors from Rio, with covers by the aforementioned Djavan, Jobim and Lins. The result is a 20-song plus soundtrack through the eyes of this American…musically celebrating the year of the 2016 Summer Olympics, in beautiful Brazil. Enjoy!

MC CD1 - MC CD2
Ziddu CD1 - Ziddu CD2

Incognito - In Search Of Better Days

Size: 162,8 MB
Time: 69:57
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Funk
Art: Front

01. Love Born In Flames (4:19)
02. Just Say Nothing (4:39)
03. Everyday Grind (6:04)
04. Racing Through The Bends (4:06)
05. Love's Revival (4:42)
06. Selfishly (4:56)
07. Love Be The Messenger (4:25)
08. I See The Light (3:29)
09. Echoes Of Utopia (6:48)
10. Move It Up (5:07)
11. Crystal Walls (3:29)
12. Bridges Of Fire (6:24)
13. All I Ever Wanted (4:15)
14. Better Days (7:06)

You would think that a 37-year-old band would rest on its laurels...right? No, not Incognito! The band is as creative and full of fire as it was at its conception in 1979. A rare feat in these days and times.

The fresh, uncompromising, soulful, Jazz-Funk-laden songs and instrumentals that are the bones of Incognito continue to shine through . . . and there is more. The sound of Bluey’s London for over three and a half decades weaves its way throughout this album and gives it flesh, with splashes of Drum & Bass and Broken Beats, Rare Groove, Deep Soulful House, and even influences from the Rock and Blues that were at the heart of the UK scene in the late ’60s and early ’70s.

From the driving bass of featured guest Stuart Zender on the opening track, you know that this album is upping the ante and it’s going to be one hell of a good ride! Imaani, Vanessa Haynes, Tony Momrelle, Katie Leone, Vula Malinga — the UK’s finest and most soulful voices hit you relentlessly one after the other with songs that will remain with you from the first hearing. And as if that was not enough to make this one of Incognito’s best albums, in comes American chanteuse extraordinaire aka “the voice of Incognito” — Maysa, to seal the deal!

Other special guest artists — including pianist Avery*Sunshine, drummer Richard Spaven, cosmic percussionist Jody Linscott, and Japanese guitar legend Tomoyasu Hotei of Kill Bill fame — leave their indelible marks on this much-anticipated release.

Bluey’s songwriting and production senses are as always full-spectrum, steeped in deep, rich history, bridging the classic sounds of the past and the tonal and sonic languages of the present and future. These songs of Love, songs of awareness, questioning, challenging, optimism, joy, and hope are without a doubt some of his best!

As Bluey continues blazing his own trail with his ever-expanding community of top-of-the-line artists, fueled by a passion for storytelling and creating unity through the Groove, Incognito’s “In Search of Better Days” takes us there. This album is . . . Truth!

MC
Ziddu

Gerry Mulligan Meets Scott Hamilton - Soft Lights & Sweet Music

Styles: Saxophone Jazz
Year: 1986
File: MP3@320K/s
Time: 42:42
Size: 98,6 MB
Art: Front + Back

(4:10)  1. Soft Lights And Sweet Music
(6:24)  2. Gone
(4:23)  3. Do You Know What I See?
(5:04)  4. I've Just Seen Her
(7:40)  5. Noblesse
(7:14)  6. Ghosts
(7:44)  7. Port Of Baltimore Blues

Starting in the late '50s, Gerry Mulligan recorded a series of encounters with fellow saxophonists that included such immortals as Stan Getz, Paul Desmond, Johnny Hodges and Ben Webster. In 1986 he resumed the practice for this one date on which his baritone is matched with the tenor of the young great Scott Hamilton. 

The music, which includes warm ballads and fairly hot romps (five of the seven songs are Mulligan originals), consistently swing and are quite enjoyable.~Scott Yanow http://www.allmusic.com/album/soft-lights-sweet-music-mw0000649667

Personnel: Gerry Mulligan (baritone saxophone), Scott Hamilton (tenor saxophone), Mike Renzi (piano), Jay Leonhart (bass), Grady Tate (drums)

Soft Lights & Sweet Music

Diane Schuur - Blues for Schuur

Styles: Vocal Jazz
Year: 1997
File: MP3@320K/s
Time: 49:55
Size: 115,0 MB
Art: Front

(6:25)  1. I'm Not Ashamed To Sing The Blues
(4:16)  2. When Did You Leave Heaven?
(3:04)  3. Stormy Monday Blues
(4:42)  4. These Blues
(4:23)  5. Moonlight & Shadows
(3:09)  6. All Right, OK, You Win (I'm In Love With You)
(2:29)  7. Who Will The Next Fool Be?
(5:05)  8. Save Your Love For Me
(6:05)  9. Someone To Love
(1:57) 10. Toodle Loo On Down
(4:57) 11. You've Got To Hurt Before You Heal
(3:18) 12. I Want To Go Home

Diane Schuur is, in my opinion and many others', one of the premiere vocalists of this era. But I've been disappointed with her last couple solo releases, forgettable collections of sappy love songs. Thankfully, with Blues For Schuur, Deedles has some material she can really sink her teeth into, and the result is one of her best albums in years! The program, as the title suggests, is all blues; gut-wrenching, soul-searching, emotion-dripping blues. Schuur milks every stylistic nuance for all it's worth and backs it up with her full, powerful voice. You can tell she's really getting into it. Of course, great arrangements help a lot. The credit here goes to former Tower of Power horn arranger Greg Adams. Adams wrote the complete arrangements, not just the horns. And the all-pro seven-piece horn section (two trumpets, two trombones, three saxophones) gives the music all the punch it needs. The sweetly stinging guitar solos of David T. Walker fit the mood just right, too. Diane Schuur's collaboration album with B.B. King gave us a good indication of her ability to sing the blues. This album provides all the proof you need.~Dave Hugles https://www.allaboutjazz.com/blues-for-schuur-diane-schuur-grp-records-review-by-dave-hughes.php

Personnel: Diane Schurr (vocals); Gary Herbig, Johnnie Bamont, Larry Williams (saxophone); Chuck Findley, Greg Adams (trumpet); Nick Lane, Matt Finders (trombone); Jai Winding (piano, organ); David T. Walker (guitar); Melvin Davis (bass); Harvey Mason (drums).

Blues for Schuur

Eric Alexander - Mode For Mabes

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 70:50
Size: 162,5 MB
Art: Front

( 8:42)  1. Mode For Mabes
( 8:05)  2. Sugar Ray
(10:11)  3. For Heaven's Sake
( 8:53)  4. Erik The Red
( 8:36)  5. Love Thy Neighbor
( 6:19)  6. Stay Straight
( 8:43)  7. Stairway To The Stairs
(11:17)  8. Naima

Coming of age as a premier tenor saxophonist, Alexander pays tribute to the jazz icon from Memphis, pianist Mabern, by featuring him on this recording with a sextet who also pay a debt to the great edition of Art Blakey's Jazz Messengers frontlined by Wayne-Shorter, Lee Morgan, and Curtis Fuller. This is modern mainstream post-to-hard bop at its finest, wth Alexander and Mabern's supporting cast making all of this music simply come alive. Trombonist Steve Davis, trumpeter Jim Rotundi, bassist John Webber, and drummer George Fludas clearly have Blue Note and Riverside late-'50s jazz in their bones, and it seeps out of every swinging pore. Alexander shows much influence from Shorter, George Coleman, and Joe Henderson. His sound is fleet, literate, and blues-drenched, and he hits every note with seeming perfection and deep knowledge. Featured on the ballad to easy-swinging versions of "Stairway to the Stars" and "For Heaven's Sake," his performances further evidence his development as a topnotch interpreter and improvisor. The rest of the band achieve good solos on the over ten-minute "Heaven's Sake" and the 11-minute plus, 6/8 version of "Naima." The musicians in this frontline, with their rich harmonic tilt, assert themselves collectively on "Naima," the title track, and "Erik the Red," their strong suit. "Erik," penned by Davis, is truly a great piece of spirited writing that displays unity, anchored by Mabern's repeated triple chords and Alexander's long, loping giraffe-neck lines. "Mode for Mabes" not only lets the band fly on a Jazz Messenger-flavored, easy-swinging, democratic melody, but it also casts a bright spotlight on Mabern. 

He is about as lyrical a pianist as there is in jazz today, and this piece, as well as the other compositions, shows the compatible group making those melodic statements blossom. Whether chiming and resonant for the intro of "Stairway," brimming with soul and conviction on Phineas Newborn Jr.'s "Sugar Ray," or absolutely killing on his solo during "Naima," Mabern's musicianship is as precious as a truckload of diamonds. 

Of course, the band can swing hard, as they do on the dramatic, meaty melody of "Stay Straight"; they can also get happy, chasing all cares away on the easy swinger "Love Thy Neighbor." You won't find a better modern mainstream jazz recording of the '90s than this one. It's a canididate for best jazz CD of 1998, a feather in Alexander's cap, and a musical triumph for Mabern; it can not come less than highly recommended.~Michael G.Nastos http://www.allmusic.com/album/mode-for-mabes-mw0000035945

Personnel: Eric Alexander (tenor saxophone); Jim Rotondi (trumpet); Steve Davis (trombone); Harold Mabern (piano); John Webber (bass); George Fludas (drums).

Mode For Mabes

Keith Jarrett - The Koln Concert

Styles: Piano Jazz
Year: 1975
File: MP3@320K/s
Time: 66:08
Size: 151,8 MB
Art: Front + Back

(26:02)  1. Part I
(14:54)  2. Part II A
(18:14)  3. Part II B
( 6:57)  4. Part II C

Recorded in 1975 at the Köln Opera House and released the same year, this disc has, along with its revelatory music, some attendant cultural baggage that is unfair in one sense: Every pot-smoking and dazed and confused college kid  and a few of the more sophisticated ones in high school  owned this as one of the truly classic jazz records, along with Bitches Brew, Kind of Blue, Take Five, A Love Supreme, and something by Grover Washington, Jr. Such is cultural miscegenation. It also gets unfairly blamed for creating George Winston, but that's another story. What Keith Jarrett had begun a year before on the Solo Concerts album and brought to such gorgeous flowering here was nothing short of a miracle. With all the tedium surrounding jazz-rock fusion, the complete absence on these shores of neo-trad anything, and the hopelessly angry gyrations of the avant-garde, Jarrett brought quiet and lyricism to revolutionary improvisation. Nothing on this program was considered before he sat down to play. All of the gestures, intricate droning harmonies, skittering and shimmering melodic lines, and whoops and sighs from the man are spontaneous. Although it was one continuous concert, the piece is divided into four sections, largely because it had to be divided for double LP. But from the moment Jarrett blushes his opening chords and begins meditating on harmonic invention, melodic figure construction, glissando combinations, and occasional ostinato phrasing, music changed. For some listeners it changed forever in that moment. For others it was a momentary flush of excitement, but it was change, something so sorely needed and begged for by the record-buying public. Jarrett's intimate meditation on the inner workings of not only his pianism, but also the instrument itself and the nature of sound and how it stacks up against silence, involved listeners in its search for beauty, truth, and meaning. 

The concert swings with liberation from cynicism or the need to prove anything to anyone ever again. With this album, Jarrett put himself in his own league, and you can feel the inspiration coming off him in waves. This may have been the album every stoner wanted in his collection "because the chicks dug it." Yet it speaks volumes about a musician and a music that opened up the world of jazz to so many who had been excluded, and offered the possibility  if only briefly of a cultural, aesthetic optimism, no matter how brief that interval actually was. This is a true and lasting masterpiece of melodic, spontaneous composition and improvisation that set the standard.~Thom Jurek http://www.allmusic.com/album/the-k%C3%B6ln-concert-mw0000188364

Personnel: Keith Jarrett (piano).

The Koln Concert

Friday, June 24, 2016

Flora Purim - Nothing Will Be As It Was... Tomorrow

Bitrate: MP3@320K/s
Time: 37:53
Size: 86.7 MB
Styles: Latin jazz, Fusion
Year: 1977/2005
Art: Front

[5:38] 1. You Love Me Only
[5:01] 2. Nothing Will Be As It Was (Nada Sera Como Antes)
[6:18] 3. I'm Coming For Your Love
[3:34] 4. Angels
[6:30] 5. Corre Niña
[5:18] 6. Bridges
[4:07] 7. Fairy Tale Song
[1:23] 8. Angels (Reprise)

Bass – Byron Miller; Brass – George Bohanon, Oscar Brashear; Drums, Tom Tom [Roto Toms] – Ndugu (Leon Chancler); Handclaps – Dennis Moody, Eryke McClinton*, Gregory Walker; Harp – Dorothy Ashby; Reeds – Ernie Watts, Fred Jackson.

This is Purim's first album for Warner Bros. after spending 1973-1976 with Milestone. While Purim's last dates with Milestone began to reflect a more commercial jazz sound, the style came to fruition by the time of this 1977 album. Drummer Leon "Ndugu" Chancler is listed as producer, and George Duke is also here, under his alias of Dawili Gonga. Given that fact, this effort sounds like a Duke production job, and like one of his late-'70s classic albums. Patrice Rushen's meditative "You Love Me Only" strikes the delicate balance between Purim's singular phrasing and persona and more streamlined production values. Earth Wind and Fire members Al McKay and Phillip Bailey contribute "Angels," and it has the sound of period EWF juxtaposed to Purim's patented and sensual wordless vocalizations. Although the artist adapts to each style, Nothing Will Be As It Was...Tommorow also has her covering the work of Brazilian artist Milton Nascimento, who co-wrote the title. Nascimento's whimsical "Fairy Tale Friend" gets a funkier treatment, as the song's lyrics lose nothing in translation. The album's most poignant track from Nascimento, "Bridges," has a doleful arrangement and a gentle vocal from Purim. Although this effort seemed to get lost in the shuffle, it is well worth seeking out, especially for lovers of late-'70s jazz fusion. ~Jason Elias

Nothing Will Be As It Was... Tomorrow

Stan Kenton - The Stage Door Swings

Bitrate: MP3@320K/s
Time: 31:49
Size: 72.8 MB
Styles: Big band
Year: 1958/2005
Art: Front

[2:38] 1. Lullaby Of Broadway
[2:54] 2. The Party's Over
[2:42] 3. Baubles, Bangles And Beads
[3:14] 4. Ev'ry Time We Say Goodbye
[2:25] 5. Whatever Lola Wants
[2:02] 6. Bali Ha'i
[2:29] 7. Hey There
[2:57] 8. Younger Than Springtime
[2:08] 9. On The Street Where You Live
[2:25] 10. I Love Paris
[3:10] 11. I've Never Been In Love Before
[2:37] 12. All At Once You Love Her

Stan Kenton's orchestra was never the place to hear a nice tune played sweetly; arrangers including Kenton himself, Pete Rugolo, Bob Graettinger, and Bill Holman commonly emphasized the progressive end of jazz -- advanced harmonics, complex charts, powerful soloists -- much more than such a simple thing as swing. When Kenton decided to record an album of show tunes in 1958, however, he proceeded directly to Lennie Niehaus. Niehaus, an altoist with the Kenton band beginning nearly a decade earlier, had written a chart for "Pennies from Heaven" in 1953 that proved to be a highlight of the Sketches on Standards LP. (Kenton would probably have chosen Bill Russo, who had helmed his two previous standards LPs of the '50s, but he had left the band a few years earlier.) Kenton's band of 1958 didn't boast the firepower of earlier editions, but new arrivals Jack Sheldon and Bill Trujillo contribute a lot to the highlight, "The Party's Over" (which, Michael Sparke's liner notes tell us, was often used by the contrarian Kenton to begin his sets). Elsewhere, Niehaus gives himself a feature on the hard-swinging "Baubles, Bangles & Beads. ~John Bush

The Stage Door Swings

Mary Ann Hurst - Jazzz...d

Bitrate: MP3@320K/s
Time: 52:18
Size: 119.7 MB
Styles: Vocal jazz
Year: 2005
Art: Front

[5:30] 1. In My Own Little Corner
[5:38] 2. I Can't Say No
[4:44] 3. Lush Life
[4:16] 4. Some Cats Know
[2:48] 5. Slow Boat To China
[5:16] 6. You'd Be So Nice To Come Home To
[4:15] 7. My Head's Ok But Heart's Not Smart
[6:52] 8. Some Other Time
[3:30] 9. Call Me
[3:40] 10. Hit The Road Jack, Why Don't You Do Right
[5:44] 11. Time After, You Make Me Feel So Young

I was born in Long Island, New York on an Air Force base and have been mobile ever since. “Home” was many places growing up: Japan, Germany, Thailand, Colorado, Georgia, Illinois, Kansas, Nebraska and later on my own in California, Minnesota, Texas, Massachusetts, South Carolina and China. My first encounters with the jazz idiom came from my father’s record collection: Duke Ellington, Count Basie, Ella Fitzgerald, Jackie Gleason, Louis Armstrong, Sophie Tucker. Highlights of my jazz education include seeing Ellington perform under the stars, seaside, in a bandshell, along with French sophisticates in Marseilles, France; watching Ella perform in San Francisco and Minneapolis; at age 9 sitting front-row to hear Louis Armstrong sing; taking workshops with Sheila Jordan and Kurt Elling; and having the opportunity to perform with great musicians like Tuna Otenel in Turkey, to Bucky Pizzarelli in South Carolina. I started singing at age 7 on in choirs, musical theater, symphony choruses and in jazz settings -- duos, trios, quartets, quintets, and once in a while big bands -- all the while working at various other jobs in life...

My life veered toward China when the opportunity to be a Chinese Mandarin linguist in the army reserves presented itself. After the army sent me to language school (basic training and radio operation school first!) I had the opportunity to study in China from 1981-82 in Shanxi, Taiyuan as a graduate exchange student from the University of South Carolina. Then graduate school at the University of Minnesota brought me an M.A. in East Asian Studies and a summer job as a tour guide in China, and the chance to work at China’s most prestigious art academy in Zhejiang Province in the beautiful city of Hangzhou. It was at this art academy I came to fully appreciate the arts of China, from calligraphy to landscape painting. I took a year at Harvard to study Classical Chinese, then worked for a non-profit study abroad consortium taking students to study Chinese at Beijing University. I later helped SBC, Inc (now AT&T) open an office in Beijing. I lived corporate, non-profit, and student lives in China - all diverse, but interesting experiences in a country now making headlines on a daily basis. Jazz in Beijing was just getting going in the 90s. I sang with a Chinese-Japanese quintet there called Beijing Jazz for six months in the Foreign Correspondents Club overlooking the city of 12 million. We jammed with ambassadors and businessmen from around the world. Sometimes Cui Jian, China’s rock star, would come in to play his horn. He sounded a lot like Miles Davis at times. On my last return from China I decided to take the folksongs I’d collected there and turn them into a jazz project. It’s a unique offering of East-West fusion, easy on the ears, very listenable.

Jazzz...d

Frankie Lymon & The Teenagers - The Best Of Frankie Lymon & The Teenagers

Bitrate: MP3@320K/s
Time: 49:25
Size: 113.1 MB
Styles: R&B, Doo-wop
Year: 2005
Art: Front

[2:19] 1. Why Do Fools Fall In Love
[3:08] 2. Please Be Mine
[2:52] 3. Love Is A Clown
[2:38] 4. Am I Fooling Myself Again
[2:58] 5. I Want You To Be My Girl 2
[2:49] 6. I'm Not A Know It All
[2:13] 7. Who Can Explain
[2:52] 8. I Promise To Remember
[1:56] 9. The Abc's Of Love
[2:38] 10. Share
[2:39] 11. I'm Not A Juvenile Delinquent
[2:06] 12. Baby Baby
[2:05] 13. Paper Castles
[2:10] 14. Teenage Love
[2:27] 15. Out In The Cold Again
[2:13] 16. Goody Goody
[2:28] 17. Creation Of Love
[2:19] 18. Thumb Thumb
[1:47] 19. Portable On My Shoulder
[2:39] 20. Little Bitty Pretty One

In early 1956, Frankie Lymon & the Teenagers -- Herman Santiago, Jimmy Merchant, Sherman Garnes, and Joe Negroni -- achieved international stardom with the song "Why Do Fools Fall in Love?." Lymon, as lead singer (and all of 13 years old), was the star of the act, and they remain one of the finest examples of New York vocal group singing. All of the essentials are on this album, which, among its numerous highlights also includes "Love Is a Clown" and the group's later hits, "Little Bitty Pretty One," "Portable on My Shoulder," and "Thumb Thumb." At the time of its release, this CD collection was notable not only for its generous programming -- 20 songs deep into the group's catalog -- but also for its sound quality. Previous LP compilations of the Teenagers' work, issued either through Roulette Records or labels of dubious legitimacy (such as Guest Star), had suffered from very poor quality mastering and sources; and even the commonly available U.S. LP reissue of the 1958 album The Teenagers Featuring Frankie Lymon -- which boasted one of the coolest covers of the 1950s -- offered miserably poor sound. This collection, either as a 20-song CD or a 16-song LP, was the first decent sounding Frankie Lymon reissue heard in decades; it's been supplanted for audio quality since then, but 20 years later, it's still worth hearing and owning, for the uninitiated. ~Bruce Eder

The Best Of Frankie Lymon & The Teenagers

Ben Webster - Quiet Now: Until Tonight

Bitrate: MP3@320K/s
Time: 57:37
Size: 131.9 MB
Styles: Saxophone jazz
Year: 2000
Art: Front

[4:34] 1. Time After Time
[3:55] 2. Chelsea Bridge
[3:01] 3. Tenderly
[4:43] 4. Do Nothin' Till You Hear From Me
[5:46] 5. It Never Entered My Mind
[3:36] 6. Danny Boy
[5:05] 7. Blue Moon
[4:29] 8. Makin' Whoopee
[4:46] 9. Some Other Spring
[4:40] 10. Where Are You
[5:02] 11. La Rosita
[4:09] 12. Until Tonight (Mauve)
[3:47] 13. That's All

This album features selections from five classic Webster releases: BEN WEBSTER AND ASSOCIATES, MUSIC FOR LOVING, KING OF THE TENORS, SOULVILLE, and COLEMAN HAWKINS ENCOUNTERS BEN WEBSTER. This music is part of Verve's "Quiet Now" series, which not surprisingly, highlights ballads and light swing. A romantic, even sultry compilation, UNTIL TONIGHT is the perfect jazz mood music for any occasion. However, these tunes need not be relegated to the background.

Webster's sensitive and deeply emotional approach to the ballad is elegant beyond compare. UNTIL TONIGHT features such standard love songs as, "Tenderly," "Time After Time" and "It Never Entered My Mind." Selections from MUSIC FOR LOVING are replete with a string orchestra, and other tunes showcase pianists Oscar Peterson, Hank Jones, or Billy Strayhorn (all legends in their own right). Finally, Webster's idol, Coleman Hawkins sits in on the Latin-inflected "La Rosita". ~AMG

Quiet Now Until Tonight    

Dave McKenna/Scott Hamilton/Jake Hanna - Double Play: No Bass Hit Disc 1 And Major League Disc 2

No Bass Hit  Disc 1

Styles: Piano And Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 41:13
Size: 96,3 MB
Art: Front + Back

(5:02)  1. But Not for Me
(3:53)  2. If Dreams Come True
(3:53)  3. Long Ago and Far Away
(6:59)  4. Drum Boogie
(5:53)  5. I Love You, Samantha
(6:10)  6. I'm Gonna Sit Right Down and Write Myself a Letter
(5:26)  7. Easy to Love
(3:53)  8. Get Happy

Major League  Disc 2

Styles: Piano And Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 41:04
Size: 94,3 MB
Art: Front + Back

(3:29)  1. Swinging at the Copper Rail
(5:06)  2. A Pretty Girl Is Like a Melody
(4:19)  3. Cocktails for Two
(4:20)  4. I'm Through with Love
(4:14)  5. Linger Awhile
(5:01)  6. September in the Rain
(5:26)  7. This Is All I Ask
(4:25)  8. It All Depends on You
(4:40)  9. April in Paris

Concord greatly enriched the revival of more traditional forms of jazz in the 1970s and 1980s when they bought together established players like pianist Dave McKenna and drummer Jake Hanna with new kids on the block like tenor Scott Hamilton. This bassless trio recorded No Bass Hit in 1979, then returned for an encore with Major League in 1986. The two-disc set Double Play re-introduces both titles while keeping the baseball metaphor intact. Quiet standards by the Gershwins and Cole Porter trade places with up-tempo delights like Gene Krupa and Roy Eldridge's "Drum Boogie." One might imagine missing the steady beat of the bass, but a cursory listen to "Easy to Love" verifies that this isn't the case. McKenna plays chords with one hand while keeping a steady bass rhythm with the other, assuring a solid beat even when he's playing lead. The band swings with vim and vigor on "Swinging at the Copper Rail" and "It All Depends on You," while offering relaxed versions of "I'm Through With Love" and "This Is All I Ask." Part of the joy of this band is their versatility, with Hamilton and McKenna exchanging lead lines or with Hanna kicking off a song with a snazzy drum roll. Double Play offers an hour and a half of excellent mainstream jazz and serves as a fine addition to the works of all the players involved.~Ronnie D.Lankford,Jr. http://www.allmusic.com/album/double-play-no-bass-hit-major-league-mw0000220613

Personnel: Dave McKenna (piano, bass); Scott Hamilton (tenor saxophone); Jake Hanna (drums).

No Bass Hit  Disc 1 And Major League  Disc 2

Kevyn Lettau - Bye-Bye Blackbird

Styles: Jazz, Vocal
Year: 2005
File: MP3@320K/s
Time: 44:39
Size: 102,5 MB
Art: Front

(4:12)  1. I've Got You Under My Skin
(3:41)  2. Bye-Bye Blackbird
(5:44)  3. I Fall in Love Too Easily
(2:50)  4. Love You Madly
(4:03)  5. It Amazes Me
(3:36)  6. I Concentrate on You
(2:47)  7. It's Delovely
(4:18)  8. Being Green
(3:23)  9. Let's Fall in Love
(6:04) 10. Gone With The Wind
(3:55) 11. Sophisticated Lady

With strings and the gentle acoustic guitar of Dori Caymmi, singer Kevyn Lettau interprets favorite songs for a standards album that's been a long time coming. She first recorded with Caymmi in 1988, before her eight-year stint with Sergio Mendes took her on a whirlwind adventure that colored her life's work with a Brazilian tinge. Possessing a smooth soprano voice that lends itself to romantic interpretation, Lettau gives her audience an armful of class. Songs by Duke Ellington, Cole Porter, Cy Coleman, and Harold Arlen bring her timeless message to a wide audience. Special circumstances, such as "Bye Bye Blackbird" and "Being Green," give the album a heart-melting quality.The singer is at her best with a suave bossa nova or a sentimental ballad. Caymmi's musical arrangements ensure that she's given appropriate surroundings to color each of these pleasant melodies. Rhythm and harmony add a bit of depth, but it's the melody that comes at you full force as Lettau sends her message out clearly. Wordless melodies alternate with sensual lyrics to fit each concern. At times she turns the music inwardly and projects her voice less forcefully, resulting in an uneven session. Rubato passages, such as the intro to "Let's Fall in Love," leave the listener in a vacuum, wondering where all the stars have gone. Each piece picks up, however, as Lettau steers her vocal message comfortably with passion and with genuine interest. Like the smooth sensations that she delivered with Sergio Mendes, each of these lovely standards slips gently into our lives.~Jim Santella https://www.allaboutjazz.com/bye-bye-blackbird-kevyn-lettau-review-by-jim-santella.php
 
Personnel:  Kevyn Lettau: vocal;  Dori Caymmi: acoustic guitar;  Russell Ferrante: piano, electric piano;  Jerry Watts, Jr.: electric bass;  Mike Shapiro: drums;  Paulinho da Costa: percussion;  Larry Goldings: melodica on "Being Green;" Gina Kronstadt: concertmaster, violin;  Peter Kent, Armen Garabedian, Berj Garabedian, Kathleen Robertson, Vladimir Polimatidi, Norm Hughs, Shari Zippert, Pam Gates, Adriana Zoppo, Cameron Patrick, Kristen Fife: violin;  Bob Becker, Miriam Meyer, Novi Novog,  Lynn Grants: viola;  Larry Corbett, Stafanie Fife, Maurice Grants, Rudolph Stein: cello.

Bye-Bye Blackbird

Jonathan Butler - So Strong

Styles: Vocal, Guitar, Jazz Funk
Year: 2010
File: MP3@320K/s
Time: 58:23
Size: 134,4 MB
Art: Front

(3:44)  1. So Strong
(5:01)  2. You Got to Believe in Something
(3:29)  3. Make Room for Me
(4:09)  4. Factual
(3:45)  5. Feels So Good
(4:38)  6. Be Here With You
(4:25)  7. Avia / For My Baby
(3:31)  8. I'm Right Here
(3:59)  9. Color Green
(4:02) 10. Good Times
(4:54) 11. I Can See Clearly Now
(5:09) 12. I Pay Respect
(4:04) 13. So Strong (Steppers Mix)
(3:27) 14. So Strong (Urban AC Mix)

Vocalist/guitarist Jonathan Butler has been fairly consistent in his quest to be the next George Benson, as his recordings could all be easily mistaken for the classic pop/jazz album Breezin'. So Strong follows those same non-discretionary lines, as Butler makes no bones about playing the exact same style of tunes that Benson popularized in the mid-'70s, establishing the so called smooth jazz format. You hear relatively similar light funk beats, spare guitar chords, or easygoing, simple lines, and the kind of underdeveloped, lazy affectations that are formulaic to this production model, cookie-cutter music. As Butler plays this genre of singer/songwriter pop, he sounds well, creeping closer vocally to Stevie Wonder, his fans should be pleased at the end result. 

In the pocket and on the make, songs like the title track and "Feels so Good," are purpose-built to slink and seduce one into a late-night lull, while moaning ballads and cooing come-ons dot the surface of these marginal compositions. Butler does hearken back to his South African heritage with ringing chords and a horn complement (Rick Braun and Dave Koz) during "Make Room for Me," and does a quite credible version of the 1972 Johnny Nash hit "I Can See Clearly Now." 

There's nothing outstanding or all that different to suggest Butler has an interest in establishing his own identity past commercial considerations. Perhaps someday he'll do the pure highlife, kwela, or township jazz album that is within his native soul.~Michael G.Nastos http://www.allmusic.com/album/so-strong-mw0001980388

So Strong

Kevin Eubanks - Shadow Prophets

Styles: Guitar Jazz
Year: 1988
File: MP3@320K/s
Time: 45:20
Size: 104,2 MB
Art: Front

(5:02)  1. Songhouse
(4:38)  2. Village Dance
(5:11)  3. Twilight Tears
(5:31)  4. G-Town Hang
(4:47)  5. He Smiled The Sea
(5:05)  6. Mice Mobsters
(5:45)  7. Shadow Prophets
(4:05)  8. Jenna's Dream
(5:12)  9. Eye Spy

Shadow Prophets was a marked improvement over The Heat of Heat, but it was obvious that GRP was trying desperately to find a niche for Kevin Eubanks. Despite a distinctive guitar style and an endless stream of ideas, Eubanks was again being molded in the same style as George Benson (the pop version). The inclusion of Mark Ledford also indicates an effort to ride the Pat Metheny wave that was so popular on contemporary radio stations at this time. 

Commercial efforts aside, there is some excellent playing here not just by Eubanks, but also by the underrated drummer Tommy Campbell, whose playing on the opening tune, "Songhouse," is breathtaking. Eubanks was certainly compromising his style at this point in his career, but the folks at GRP gave him a little more space and creative freedom. The results are mixed, but worth exploring for the sheer fact that Eubanks is such a great musician and makes the most of this limiting style of music.~Robert Taylor http://www.allmusic.com/album/shadow-prophets-mw0000196508

Personnel:  Acoustic Guitar, MIDI Guitar Synth – Kevin Eubanks;  Lead Vocals – Mark Ledford;  Electric Bass – Rael Wesley Grant,  Victor Bailey;  Keyboards – Onaje Allan Gumbs;  Backing Vocals – Kevin Eubanks, Mark Ledford;  Drums – Gene Jackson, Tommy Campbell.

Shadow Prophets