Lena Horne - Lena Goes Latin & Sings Your Requests

Styles: Vocal Jazz
Year: 1964
File: MP3@320K/s
Time: 52:08
Size: 119,9 MB
Art: Front

(1:54)  1. From This Moment On
(2:27)  2. Take Me
(2:44)  3. Night And Day
(2:43)  4. Old Devil Moon
(1:47)  5. More
(2:28)  6. My Blue Heaven
(3:37)  7. Cuckoo In The Clock
(2:23)  8. Meditation
(2:47)  9. By Myself
(2:24) 10. Island In The West Indies
(2:49) 11. Ours
(2:03) 12. Falling In Love With Love
(1:52) 13. He Loves Me
(2:44) 14. Every Little Bit Hurts
(3:22) 15. Stormy Weather
(2:25) 16. Poppa Don't Preach To Me
(2:58) 17. Honeysuckle Rose
(2:22) 18. The Lady Is A Tramp
(3:27) 19. Lover Man
(2:44) 20. Can't Help Lovin' That Man

In 1963, Lena Horne left a long association with RCA Victor Records and signed to the smaller Charter label, for which she recorded two albums, Goes Latin and Sings Your Requests. Those two albums are combined on this two-fer compilation. The first ten tracks, which comprised the original Goes Latin LP, were arranged by Shorty Rogers and conducted by Horne's husband, Lennie Hayton. In keeping with the title, the arrangements feature Latin percussion, with punchy big-band horn charts on top. Horne was no stranger to such material, at least in the diluted form heard here, having performed Latin-style arrangements in the movies and on Broadway, and in fact her lively, take-charge interpretations are well-suited to Rogers' arrangements, whether applied to a Cole Porter show tune or a more contemporary song such as the Mondo Cane movie theme "More" or Antonio Carlos Jobim's "Meditation." Sings Your Requests earned its title by featuring re-recordings of several songs long associated with Horne, including "Stormy Weather," "Honeysuckle Rose," "The Lady Is a Tramp," and "Can't Help Lovin' That Man." (All are songs she sang in the movies.) But the combination of the two albums onto one disc is justified by their similarity. The first four tracks of the second LP (tracks 11-14 here) are also Rogers arrangements conducted by Hayton, some of them with more Latin percussion, suggesting they came from the same sessions as those for the first LP. (The rest were arranged and conducted by Marty Paich.) Horne remains masterful on the familiar material, and she gives an excellent reading to the newly minted show tune "He Loves Me," a gender-switched version of the title song from the Broadway musical She Loves Me. Lena Horne may have fallen out of commercial favor on records by 1963, but these recordings demonstrate that she hadn't lost her appeal. ~ William Ruhlmann  http://www.allmusic.com/album/lena-goes-latin-sings-your-requests-mw0000649569

Personnel:  Lena Horne – vocals;  Lennie Hayton - arranger, conductor (#1-14);  Shorty Rogers - arranger (#1-14);  Marty Paich - arranger (#15-20)

Lena Goes Latin & Sings Your Requests

---

Walter Lang - Eurasia

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 57:01
Size: 130,7 MB
Art: Front

(7:23)  1. Last Train Home
(3:57)  2. Ack Vaermaland (Dear Old Stockholm)
(5:45)  3. Nights of Skopje
(6:05)  4. Ringo Oiwake
(4:01)  5. Que Reste T'il De Nos Amours? (I Wish You Love)
(4:31)  6. Estate
(7:02)  7. Madrid After Dark
(7:08)  8. Belalim
(5:27)  9. Omorfi Poli
(5:37) 10. Traveling Far

German pianist Walter Lang is big in Japan, with Eurasia being the sixth CD released there on the M&I Records label. A listen to any of these discs reveals something for the discerning taste of the Japanese jazz fan. Lang records mostly in the trio format piano, bass and drums and his approach in this setting can be said to fall in the interactive Bill Evans Trio mode, with a graceful lyricism, a supple use of touch, and an exquisite feel for engaging melodies, on both the tunes he chooses to cover and on his own original compositions. The set of music on Eurasia embraces the theme of a road trip across the great expanse of the Eurasian continent and begins for no other reason than to open with a beautiful melody in America, with Pat Metheny's nostalgic "Last Train Home." Spare single notes by Lang paint a poignant picture, expanding, as the trio-mates enter the tune, into a passing landscape of ephemeral beauty. A jump across the Atlantic lands in the familiar "Ack Vaermaland" (Dear Old Stockholm). 

A visit to Yugoslavia features Dusko Goykovich's rhythmically insistent "Nights of Skopje," while "Ringo Owake" represents Japan. The set also travels to France with "Que Reste T'il De Nos Amours" (I Wish You Love), Italy (Bruno Martino's "Estate"), Spain with the Lang original "Madrid After Dark," Turkey (Belalim), and Greece (Omorfi Poli). In a group of tunes originating in diverse cultures, the universal language of melody is the thread that ties the set together. Lang has a fine ear (and two magical hands) for an engaging melody, and his trio he works with at least three, including the modernized drum 'n' bass dance groove group, Trio Elf is as simpatico and interactive as any that can be heard in the piano trio format. Eurasia is a beautiful, first rate piano trio set one of the best of the year, and with its release Lang has risen to the top level of jazz piano artistry. ~ Dan McClenaghan https://www.allaboutjazz.com/eurasia-walter-lang-m-and-i-review-by-dan-mcclenaghan.php

Personnel: Walter Lang: piano; Thomas Markusson: bass; Sebastian Merk: drums.

Eurasia

---

Michael Rodriguez - Reverence

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 61:12
Size: 140,5 MB
Art: Front

(8:33)  1. Small Feats
(9:18)  2. Enchantment
(9:42)  3. Reverence
(7:29)  4. Wishful Thinking
(9:09)  5. Like Joe
(9:15)  6. Portrait Of Jennie
(7:43)  7. You Did

For his Criss Cross debut, 33-year-old trumpet virtuoso Michael Rodriguez assembles a world-class New York quintet of generational peers (pianist Gerald Clayton and drummer Rodney Green) and mid-career masters (tenor saxophonist Chris Cheek and bassist Kiyoshi Kitagawa) to perform six kinetic originals and a single standard, Portrait Of Jennie. Known for his creative melodic approach and pellucid tone via consequential engagements over the last decade with, among others, Charlie Haden's Liberation Music Orchestra, Gonzalo Rubalcaba, Bobby Watson, and Eddie Palmieri, Rodriguez blends youthful fire with a veteran's focus and mature intention, setting the tone for an immensely satisfying session. ~ Editorial Reviews https://www.amazon.com/Reverence-Michael-Rodriguez/dp/B00AP0K8RU

Personnel: Michael Rodriguez (Trumpet), Chris Cheek (Saxophone), Gerald Clayton (Piano), Kiyoshi Kitagawa (Bass) Rodney Green (Drums)

Reverence

---

Ronnie Cuber - N. Y. C.ats

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 54:44
Size: 127,4 MB
Art: Front

(10:36)  1. Mirage
( 5:38)  2. Do Nothin' Till You Hear From Me
( 7:19)  3. Mimosa
( 7:01)  4. Humacao
( 8:52)  5. I've Got You Under My Skin
( 7:56)  6. Ponta Grossa
( 7:18)  7. Better Git It In Your Soul

Baritonist Ronnie Cuber is in typically swinging and hyper form throughout this fine hard bop quintet date. Trumpeter Ryan Kisor gets in his licks and the rhythm section (pianist Michael Weiss, bassist Andy McKee, and drummer Tony Reedus) is also excellent. The quintet stretches out on three intriguing if not overly memorable Cuber originals (including a ten-and-a-half-minute version of "Mirage"), George Benson's "Mimosa," and three standards, including a very spirited rendition of Charles Mingus' "Better Git in Your Soul." Virtually every Ronnie Cuber recording is worth acquiring by fans of the baritone sax. ~ Scott Yanow http://www.allmusic.com/album/nycats-mw0000049604

N. Y. C.ats

---

Louise Dearman - Here Comes The Sun

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 46:06
Size: 106,1 MB
Art: Front

(3:21)  1. Here Comes The Sun
(4:13)  2. Squander
(3:59)  3. Time After Time (feat Steve Balsamo)
(3:50)  4. Gravity
(3:35)  5. Defying Gravity
(3:56)  6. See The Day
(4:25)  7. Little Bird
(3:49)  8. This House
(3:26)  9. Uninvited
(3:38) 10. One Day I'll Fy Away
(4:58) 11. Kissing You
(2:51) 12. (James Saint James Remix)

When I heard Louise Dearman was returning to the studio to record her second studio album I knew the finished product would be good. However I did not realise it would one of the most moving, beautiful albums I have ever listened to. Although the songs are covers Louise really makes each one sound like an original. You can tell how she understands every single lyric in every single song as she sings with a great deal of emotion. After seeing Louise play Glinda in Wicked I thought I knew her voice well but the songs on the album allow Louise to show different areas of her voice which I think is one of the most beautiful voices that has ever been heard on a West End stage. There is a variety of songs on the album which create different atmospheres and takes you on a journey. The first song 'Here Comes The Sun' is so gentle. The first 30 seconds almost hypnotise you, putting you into a trance which makes you stop what you are doing, sit down and open your imagination. The orchestrations are also perfect and joins forces with Louise's voice to create something magical. The second track on the album 'Squander' quickly takes you onto the next step of the journey. The song slowly builds up and shows the unique power of Louise's voice. While so many singers have strong voices and can belt out a song, Louise's tone stands out and connects with something on the inside of your body making you go 'wow' (as I did, while sitting on the tube listening to the song on my iPod - I got a few strange looks).

I think 'Time After Time' is one of the most famous tracks on the album. Louise sings this song with Steve Balsamo and their voices compliment each other perfectly. Before hearing this version I didn't realise how beautiful the lyrics of the song are as this version is so stripped back and raw. The way the last phrase of the song is almost whispered gives me chills every time I listen to it. Both singers put so much emotion into the way they sing. This was the first song on the album which left me felling emotionally moved. The next track, 'Gravity', is one of my favourites from the album, it really gives Louise the chance to show off her vocal ability which is extraordinary! I cannot get over how effortlessly she sings the song and makes it sound like it was written for her. 'See The Day' continues the journey of the album, changing the emotion from vulnerable to powerful. It is a great contrasting song on the album and, yet again, shows a different side to Louise! As the song progresses we get to hear some incredible rifts and power from Louise's voice before the song is suddenly stripped back before its massive climax. 

Then the atmosphere completely changes as 'Little Bird' begins. I never expected Louise to sing a song like this. It has such a catchy beat and leaves you with that upbeat inspired feeling - as if you could do anything. While 'This House' is a ballad it is completely different to any other song on the album. It makes you imagine a dark place. Then 'Uninvited' comes along. This song shows us how delicate Louise's voice is. It shows us a glimmer of hope. 'One Day I'll Fly Away' starts the end of the journey and makes you look into the future, showing you that there is always a light at the end of the tunnel. The final song on the album 'Kissing You' is stunning. It shows off the talent of Louise Dearman who has such a delicate yet powerful, unique voice. The song ends, finishing the journey of Louise's second album 'Here Comes The Sun'. It leaves you feeling inspired and touched, as if someone had been in the room singing to you directly. This is honestly the best album from a musical theatre artist I have ever heard.  Alternatly you can buy the Album from Amazon, Dress Circle, HMV and iTunes.

~ Andrew Tomlins http://www.westendframe.com/2012/06/album-review-louise-dearmans-here-comes_11.html

Here Comes The Sun

---

Ronnie Cuber - In a New York Minute

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 67:55
Size: 155,9 MB
Art: Front

(5:42)  1. Dig
(6:08)  2. In a New York Minute
(6:07)  3. Con Pasión
(8:43)  4. Bu's Beat
(8:14)  5. Sophisticated Lady
(9:06)  6. For Bari & Bass
(9:50)  7. 12/8 Thang
(6:40)  8. Emily
(7:22)  9. Caravan

A powerful baritonist in the tradition of Pepper Adams, Ronnie Cuber has been making excellent records for over 20 years. He was in Marshall Brown's Newport Youth Band at the 1959 Newport Jazz Festival and was featured with the groups of Slide Hampton (1962), Maynard Ferguson (1963-1965), and George Benson (1966-1967). After stints with Lionel Hampton (1968), Woody Herman's Orchestra (1969), and as a freelancer, he recorded a series of fine albums (both as a leader and as a sideman) for Xanadu and performed with Lee Konitz's nonet (1977-1979). 

In the mid-'80s, Cuber recorded for Projazz (in both straight-ahead and R&B-ish settings), in the early '90s he headed dates for Fresh Sound and SteepleChase and Cuber performed regularly with the Mingus Big Band. ~ Scott Yanow  https://itunes.apple.com/us/artist/ronnie-cuber/id2899865#fullText

Personnel: Ronnie Cuber (baritone saxophone); Kenny Drew, Jr. (piano); Andy McKee (bass); Adam Cruz (drums).

In a New York Minute

---

Julia Fordham - Swept

Styles: Vocal
Year: 1991
File: MP3@320K/s
Time: 49:34
Size: 79,7 MB
Art: Front

(5:09)  1. I Thought It Was You
(3:48)  2. Patches Of Happiness
(4:56)  3. Swept
(4:54)  4. Rainbow Heart
(4:13)  5. Betrayed
(4:12)  6. Talk Walk Drive
(3:55)  7. Shame
(4:35)  8. (Love Moves In) Mysterious Ways
(4:49)  9. As She Whispers
(5:58) 10. Scared Me
(3:01) 11. Tied

A jazz- and pop-influenced singer/songwriter, Britain's Julia Fordham is an eclectic artist with a loyal cult following. A native of Portsmouth, England, Fordham performed folk music in local clubs, sang with the National Youth Jazz Orchestra, and worked as member of Mari Wilson's backing troupe the Wilsations before embarking on her solo career. In 1988, Fordham released her eponymously titled debut, Julia Fordham, which showed off her low, smoky jazz bar, dulcet voice and contained four singles: "The Comfort of Strangers," "Woman of the 80's," her first hit "Happy Ever After," and "Where Does the Time Go."  The following year, Porcelain consolidated her presence as a leading album artist. Produced by Hugh Padgham, Grant Mitchell, and Fordham herself, standout tracks include "Lock and Key"; tonally warm, her vocal delivery was likened to Joni Mitchell's, with whom she'd be further linked in years to come). Porcelain guested Manu Katche and Pino Palladino among its high-caliber lineup. 

More bittersweet tales of hopelessness in the art of relationships were outlined in 1991's Swept, which included the excellent "I Thought It Was You" as well as "(Love Moves In) Mysterious Ways." Also featured in the film The Butcher's Wife, "(Love Moves In) Mysterious Ways" climbed to number 19, making it her biggest U.K. hit to date. Relocating to the States, Fordham released her fourth studio album, the Larry Klein-produced Falling Forward in 1994. In 1997, she returned with East West, which featured production from Canadian guitarist Michael Brook. A solid greatest-hits compilation was released in 1999 and her last contractual effort for Virgin, the aptly titled Collection, included updated versions of "Happy Ever After" and "Where Does the Time Go" as well as "Killing Me Slowly" from East West.  A new deal with Division One/Atlantic prevailed in time for the 2002 release of her sixth studio album, the Klein-produced Concrete Love. Fordham then moved to the Vanguard label for 2004's That's Life and the live CD/DVD combo, That's Live, in 2005. Inspired by the birth of her daughter, Fordham next released the EP Baby Love in 2007. The jazz-influenced China Blue, featuring a duet with Michael McDonald, followed in 2008. Two years later, she teamed with actor and pianist Paul Reiser for the album Unusual Suspects.  In 2014, Fordham released the covers album The Language of Love, which featured jazz and bossa nova reworkings of songs by Blondie, the Eurythmics, 10cc, and others. http://www.allmusic.com/artist/julia-fordham-mn0000837311/biography

Swept

---

Seamus Blake - The Call

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 76:02
Size: 174,2 MB
Art: Front

( 7:19)  1. Vanguard Blues I
( 8:44)  2. The Call
( 9:33)  3. Nobody's Song But His Own
(11:15)  4. On Cue
( 5:26)  5. Prelude To A Kiss
( 8:43)  6. Mercy Days
( 9:08)  7. Zydeco
( 5:16)  8. Smoke Gets in Your Eyes
(10:33)  9. Vanguard Blues II

Tenor saxophonist Seamus Blake, who was 24 at the time, is in excellent form on this creative post-bop set. He is teamed with the atmospheric and inventive guitarist Kurt Rosenwinkel, pianist Kevin Hays, bassist Larry Grenadier, and drummer Bill Stewart on seven originals (including "Nobody's Song but His Own," "Mercy Days," and two versions of "Vanguard Blues"), "Prelude to a Kiss," and "Smoke Gets in Your Eyes." 

At this early stage in his career, Blake already had a pretty original sound on tenor and a good tone on soprano. One of the highpoints of the set is "Zydeco," which, although sounding nothing at all like zydeco music, features some particularly passionate playing from Blake. Recommended. ~ Scott Yanow http://www.allmusic.com/album/the-call-mw0000184636

Personnel: Seamus Blake (soprano saxophone, tenor saxophone); Kurt Rosenwinkel (guitar); Kevin Hays (piano); Bill Stewart (drums).

The Call

---

Keiko Matsui - Wildflower

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 49:35
Size: 114,4 MB
Art: Front

(4:48)  1. Flashback
(4:33)  2. Facing Up
(4:28)  3. Sense Of A Journey
(4:29)  4. Brand New Wind
(4:06)  5. Eldest Of All
(4:23)  6. Reflections
(4:31)  7. White Castle
(3:46)  8. Temple Of Life
(5:07)  9. Seeker
(4:58) 10. Stone Circle
(4:19) 11. Wildflower

The spiritual and charitable-minded Japanese keyboardist, who blends ethereal new age textures with a rich soul-jazz sensibility better than anyone, is in top form on her 14th studio release. Like its recent predecessors on Narada Jazz, the CD features songs that are all about the landscape between subtlety and drama, elegant piano melodies and improvisations, dramatic flute and sax harmonies, and rich ambiences dense with percussion. Tying in perfectly with her current humanitarian work with United Nations World Food Program (WFP) efforts in Africa (most of her recent albums have tied into some charitable or health cause), the collection features subtle worldbeat threads throughout. "Flashback" features a gentle, classical-flavored piano melody over a gently throbbing bassline, before Matsui does some dramatic improvisations over dense, exotic percussion textures. "Facing Up" is quintessential graceful Matsui up until the feisty, machine-generated wall of polyrhythmic drums (which she simply dances over). "Sense of a Journey" is a little more smooth jazz-centered in spots, but later goes on a film score-like orchestral tangent. The intro to "Reflections" is low-key but decidedly African jungle in vibe, while the sweeping "Temple of Life" features hints of sitar, vocal choirs, and chanting beyond the orchestral flair. The closing title track is probably the most restrained piece production-wise, but also one of the most memorable melodically; its royalty proceeds will benefit the WFP, her latest charity. Matsui is always so consistent that it's hard to decide if one album ever tops another, but like most albums in her catalog, Wildflower is irresistible in its execution of incredible dynamics throughout. ~ Jonathan Widran http://www.allmusic.com/album/wildflower-mw0000696377

Personnel: Keiko Matsui (piano); Kazu Matsui (shakuhachi); Masamichi Nanji, Shinobu Ishizaki (soprano saxophone); Akira Jimbo (drums, percussion); Derek Nakamoto, Hajime Hyakkoku, Heigo Yokouchi, Kazunori Miyake (programming).

Wildflower

---

Chris Anderson & Sabina Sciubba - You Don't Know What Love Is

Styles: Vocal And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 60:03
Size: 138,8 MB
Art: Front

( 4:51)  1. The More I See You
( 5:47)  2. You Don't Know What Love Is
( 5:18)  3. My Romance
( 4:10)  4. Estate
( 5:16)  5. Polka Dots & Moonbeams
( 5:54)  6. How Long Has This Been Goin' On?
( 4:27)  7. Ain't Misbehavin'
( 4:12)  8. The Gypsy
(11:04)  9. Too Late Now
( 9:00) 10. Lazy Afternoon

Chris Anderson is a legendary and, until the mid-1990s, underdocumented veteran pianist. In his mid-70s at the time of this set, he collaborates with Sabina Sciubba, a pop singer from Germany who was in her mid-20s and had always loved jazz. Sciubba shows on this set of standards that she is quite capable of swinging and of adding her own personality to the older songs. With fine backup provided by bassist David Williams and drummer Billy Higgins, the singer sounds haunting yet respectful on such tunes as "The More I See You," "My Romance," "Estate" and "Ain't Misbehavin.'" Anderson, a particularly talented accompanist, additionally has a couple instrumentals as features. Tasteful and subtle music. ~ Scott Yanow http://www.allmusic.com/album/you-dont-know-what-love-is-mw0000237790

Personnel:  Chris Anderson (piano);  Sabina Sciubba (vocals);  David Williams (bass);  Billy Higgins (drums).

You Don't Know What Love Is

---

Chris Cheek - Blues Cruise

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 53:54
Size: 123,8 MB
Art: Front

(5:23)  1. Flamingo
(6:38)  2. Low Key Lighty
(6:49)  3. Coo
(5:45)  4. Squirrelling
(3:50)  5. Song of India
(6:21)  6. Falling
(7:46)  7. Blues Cruise
(6:09)  8. John Denver
(5:08)  9. The Sweetheart Tree

Even though he has turned in one stunning performance after another on albums by Paul Motian's Electric Bebop Band, Charlie Haden's Liberation Music Orchestra, Guillermo Klein's Los Gauchos and various lesser-known, though equally interesting ensembles, Chris Cheek is still a lurker. Your only good chance of seeing this reedman live is in New York or on the other side of the pond, where he makes frequent tours. The problem has nothing to do with Cheek's playing. It's the game: labels, distributors, publicists, writiers, editors. Nevertheless, Blues Cruise did get to me by some freakish fluke, and I've gotten to savor its pleasing variety of textures and styles. The erstwhile Brad Mehldau Trio is the backing band on Blues Cruise. Cheek couldn't have asked for a more empathetic and sensitive rhythm team for this program, which ranges from the calypso-tinged "Flamingo to the soft Rhodes-laden bossa-tango "Coo and the folk rock-informed "John Denver, which actually sounds like a convincing jazz version of what would otherwise be a rock song with electric guitars and bass. 

The title of this release would seem to imply that the tunes center around the blues, but they don't, really. Some have a bluesy flavor. But it seems to be more about the journey. The soprano ballads have a searching quality, while the tenor romps are more declaratory. The saxophonist's rich tone is the most notable constant throughout the record. It has a richness and flavor that's akin to a fine wine or cigar. The vivacity and frolicking quality of Cheek's breathy tenor owe much to the influence of Sonny Rollins, while his rhythmic flair draws equally from Eddie Harris. Comparisons to Chris Potter and Donny McCaslin also come to mind, but without all the shrieking and pyrotechnics. This record is a testament to the fact that no matter how far any player may be from the media limelight—and consequently the public consciousness a great soloist coupled with a terrific backing band can make for some of the freshest music you've ever heard. 

~ Matt Merewitz https://www.allaboutjazz.com/blues-cruise-chris-cheek-fresh-sound-new-talent-review-by-matt-merewitz.php

Personnel: Chris Cheek: saxophones;  Brad Mehldau: piano, Fender Rhodes, electric keyboard;  Larry Grenadier: bass;  Jorge Rossy: drums, hand percussion.

Blues Cruise

---

Julia Fordham - Julia Fordham

Styles: Vocal
Year: 1988
File: MP3@320K/s
Time: 41:20
Size: 94,8 MB
Art: Front

(3:43)  1. Happy ever after
(4:24)  2. The comfort of strangers
(3:20)  3. Few too many
(2:49)  4. Invisible war
(3:39)  5. My lover's keeper
(3:39)  6. Cocooned
(4:27)  7. Where does the time go
(5:16)  8. Woman of the 80's
(4:14)  9. The other woman
(2:09) 10. Behind closed doors
(3:35) 11. Unconditional love

Critics were bothered by her cherry-picked appropriations of exotic musical elements (a casual nod to South Africa here, an incongruous incursion of Spanish guitar there) and the ultimately cold nature of what seemed on the surface to be lush and warm instrumental arrangements. More casual listeners probably had the hardest time getting past her voice, which was obviously pretty in a way and yet startlingly deep and dark-hued, and also her tendency to reach beyond her range, as on the unattractively screechy bridge of "Comfort of Strangers." But you get used to the voice within a few tracks and you start getting sucked into those jazzily complex and impeccably produced arrangements. If she fails to hit the high notes on "Few Too Many," it's easy to ignore that fact and pay attention to the music itself, which is lovely. 

Her chief limitation, though, is not her singing; it's her unsettling inability to sing a love song convincingly. "Invisible War" is supposed to be regretful, but it comes out sounding analytical; "My Lover's Keeper" is supposed to sound supplicating (or something), but it comes out sounding dispassionately puzzled. And as for "Woman of the '80s," please it's just a bit hard to take her seriously as an emotional casualty of feminism (nice chorus, though). Only on the nakedly sad and borderline metaphysical "Where Does the Time Go?" does she seem to let listeners into her actual feelings. Porcelain, her follow-up, was more engaging. ~ Rick Anderson http://www.allmusic.com/album/julia-fordham-mw0000603732

Julia Fordham

---

Ronnie Cuber - The Scene Is Clean

Styles: Flute And Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 58:05
Size: 140,6 MB
Art: Front

(7:38)  1. The Scene Is Clean
(8:12)  2. Adoracion
(8:39)  3. Song For Pharoah
(7:08)  4. Arroz Con Pollo
(6:50)  5. Mezambo
(6:06)  6. Fajardo
(5:21)  7. Tee's Bag
(8:08)  8. Flamingo

When The Scene Is Clean was recorded in 1993, Ronnie Cuber was far from a big name in the jazz world. The baritone saxman had solid credentials that included stints with George Benson in the 1960s and Lee Konitz in the '70s (among many other accomplishments), and yet, he wasn't nearly as well known as he deserved to be. Like other Cuber recordings, The Scene Is Clean wasn't hyped to death but is an excellent hard bop/post-bop date just the same. It's regrettable that Ronnie Cuber isn't a bigger name in jazz, for the baritonist plays with a lot of soul and charisma on Tadd Dameron's "The Scene Is Clean" and the standard "Flamingo" as well as Latin-influenced originals such as "Fajardo," "Mezambo," and "Arroz con Pollo." On the congenial, optimistic "Song for Pharoah," Cuber acknowledges the mellower side of Pharoah Sanders, although the song would have also worked for John Coltrane, Charles Lloyd, McCoy Tyner, or Lonnie Liston Smith. The Scene Is Clean was a welcome addition to Cuber's catalog. ~ Alex Henderson http://www.allmusic.com/album/the-scene-is-clean-mw0000113980

Personnel: Ronnie Cuber (flute, alto saxophone, tenor saxophone, baritone saxophone); George Waldenius, Georg "Jojje" Wadenius (guitar); Lawrence Feldman (flute); Joey DeFrancesco (organ); Geoff Kiezer, Geoff Keezer (keyboards); Milton Cardona (drums, congas, percussion); Manolo Badrena (drums, percussion); Victor Jones (drums).

The Scene Is Clean

---

Donovan - Beat Cafe

Styles: Vocal, Guitar, Rock
Year: 2004
File: MP3@320K/s
Time: 51:08
Size: 117,6 MB
Art: Front

(4:18)  1. Love Floats
(4:02)  2. Poorman's Sunshine
(4:13)  3. Beat  Cafe
(3:34)  4. Yin My Yang
(4:46)  5. Whirlwind
(3:40)  6. Two Lovers
(3:05)  7. The Question
(4:46)  8. Lord Of The Universe
(4:56)  9. Lover O Lover
(3:48) 10. The Cookoo
(4:26) 11. Do Not Go Gentle
(5:29) 12. Shambhala

Beat Cafe is Donovan's first record in nine years. His last, the Rick Rubin-produced Sutras was issued in 1993 and was hopelessly misunderstood especially coming as it did on the heels of Rubin's first collaboration with Johnny Cash. This side, produced by the rootsy yet eclectic John Chelew who has worked with everyone from Richard Thompson to the Blind Boys of Alabama and John Hiatt goes right to the heart of Donovan's particular musical esthetic. The title on this set is significant. The instrumentation is spare, with drums by Jim Keltner, acoustic , upright bass by the legendary Danny Thompson, and keyboards by Chelew.Donovan handled the guitar chores. In other words, small combo, cafe style. . . Atmosphere is everything in these songs; they are intimate, rhythm-conscious, tuneful, and lyrically savvy. In addition, they're inspired by that eternally present, romantically eulogized generation of poets, dope fiends, midnight travelers, and coffeehouse sages, the Beats. The set features 12 new songs; ten of them are Donovan Leitch originals. The covers include a compelling read of the mysterious and traditional "The Cuckoo,"and a jazzy spoken word take on Dylan Thomas' "Do Not Go Gentle." There are some flashes of the hippy mystic of old here, but mostly, this is a fingerpopping set by Donovan the enigma as well as Donovan the songwriter. Chelew and band do a wonderful job of illustrating this juxtaposition. 

With this band tight, deeply in the groove at all times, the tunes open up and out as if the group were on the barroom stage, and extended the dancefloor jumping and jiving into the street on a delirious, humid moonlit night of uncontainable joy. "Poorman's Sunshine," with its skittering brushed snare drums and a B3 tracking the melody with Thompson's bass pushing the rhythm, jumps out at the listener, as does the title track with Thompson driving the whole engine. "Yin My Yang" may have a seemingly ridiculous title, but it's not in the context of what this album tries to achieve. Donovan is celebrating the self-referential, "anything-is-possible" revelation that fuelled the language and spirit of his heroes of yore, and propelled his own romantic, "everything-is-love" aesthetic. The shimmering, dark, Eastern minor-key psychedelic spoken word/sung ditty of "Two Lovers" is one of those poems that makes Donovan so unique (think, "Atlantis" here). The organic jazzed-up funk of "The Question" is one of those crazy moments that makes the whole world open and the body twitch in time. The album ends with the whispering "Shambala," a tender, blissful dirge that is utterly moving and hauntingly beautiful in its optimism and hope. If anything, if albums are "needed" anymore, the spirit in this one is. Donovan reminds listeners that possibility and hope are not passé, but as full of chance and wild grace as ever. Welcome back, Donovan; you've been missed. ~ Thom Jurek http://www.allmusic.com/album/beat-cafe-mw0000656001

Personnel: Donovan (vocals); Donovan Leitch (vocals, guitar); Danny Thompson (bass instrument, bass guitar); John Chelew (keyboards); Jim Keltner (drums, percussion).

Beat Cafe

---

Jessica Molaskey - Sitting In Limbo

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 44:57
Size: 103,6 MB
Art: Front

(3:58)  1. Sitting In Limbo
(3:10)  2. Heavy Cloud, No Rain
(4:16)  3. Summer, Highland Falls
(3:00)  4. Ooh Child
(2:13)  5. I Want To Be Happy / Sometimes I'm Happy
(3:12)  6. There Will Never Be Another You
(4:31)  7. Knowing You
(3:31)  8. I'm Gonna Sit Right Down and Write Myself A Letter
(4:48)  9. The Circle Game / Waters Of March
(3:35) 10. Walkin' After Midnight
(4:11) 11. Hearts and Bones
(4:26) 12. Morning Has Broken / I Woke Up One Early Morning

Singer Jessica Molaskey's fourth album, Sitting in Limbo, has been well received. She is guitarist/vocalist John Pizzarelli's wife, and together they have won the New York City Nightlife Award for "Best Musical Duo" in both 2007 and 2008. Molaskey is a very polished vocalist whose specialty is Broadway musicals, currently appearing in a revival of Stephen Sondheim's Sunday in the Park with George, which opened in Manhattan in February, 2008. Her jazz credentials are enhanced by her frequent appearances and recordings such as this one, with her husband's working combo, but she is really an artist even more comfortable in a theatrical or cabaret setting. A similar comparison could be made for the late career of Rosemary Clooney, who was re-invented by Concord Records during the last two decades of her life, through her many jazz-associated albums. However, even Clooney came from a big band setting prior to her string of pop hits in the 1950s. Sitting in Limbo is a thematic album, using the lyrics of Jimmy Cliff's title tune to reflect a place "between heaven and hell" with an interesting choice of mostly pop material. On Paul Simon's "Hearts and Bones," based upon an autobiographical lyric that reflects upon Simon's failed marriage and a journey to New Mexico with actress/writer Carrie Fisher (."..One and one-half wandering Jews, Free to wander wherever they choose..."). Billy Joel's "Summer, Highland Falls" is interleaved with Jobim's uncredited "Tristeza," with the word "sadness" appearing in both songs but with different meanings.


An important part of the Molaskey/Pizzarelli performances live or in studio is their interrelated duets. Here two Vincent Youman/ Irving Caesar tunes "I Want to Be Happy" and "Sometimes I'm Happy" are sung by each of the vocalists. Elsewhere, Molaskey renders Joni Mitchell's "The Circle Game" while Pizzarelli does Jobim's vocally complex "Waters of March." Finally, Cat Stevens' "Morning Has Broken" is sung alongside the Pizzarelli/Molaskey original "I Woke Up One Early Morning." All of these tunes represent contrasting views that are reflected in Jimmy Cliff's lyrics on the title tune: "..I don't know where life will take me, but I know where I've been..." Pizzarelli's group is augmented by pianist/organist Larry Goldings on half of the selections (in lieu of Larry Fuller) and the presence of the always dependable and lyrical tenor saxophonist, Harry Allen. Bassist Martin Pizzarelli and drummer Tony Tedesco complete the roster. Disregarding labels and sub-genres, this is Jessica Molaskey's finest album in terms of concept and execution. ~ Michael P.Gladstone https://www.allaboutjazz.com/sitting-in-limbo-jessica-molaskey-ps-classics-review-by-michael-p-gladstone.php

Personnel: Jessica Molaskey: vocals; John Pizzarelli: guitar, vocals; Larry Goldings: piano and organ (1, 2, 4, 6, 8, 12); Larry Fuller: piano (3, 5-7, 9, 10); Martin Pizzarelli: bass; Tony Tedesco:drums; Harry Allen: saxophone.

Sitting In Limbo

---

Walter Lang, Lee Konitz - Ashiya

Styles: Piano And Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 53:57
Size: 123,9 MB
Art: Front

(4:49)  1. Monk's Cottage
(5:55)  2. The Good Way
(3:57)  3. Open Water
(0:24)  4. Interlude I
(4:40)  5. Ashiya
(5:14)  6. Soft Wind Blowing
(4:35)  7. Way Too Early
(3:38)  8. What A Treat
(3:54)  9. Valse Elegance
(6:08) 10. Casa Do Tom
(1:08) 11. Interlude II
(7:42) 12. Farewell
(1:47) 13. Epilogue

The veteran German jazz pianist Walter Lang welcomes alto sax great Lee Konitz for this special duo session. While they had worked together on-stage several times, this marks their first CD together. It is a bit unusual to hear Konitz focusing almost exclusively on another musician's material without adding a few of his own quirky reconstructions of standards, but all goes well, as the two players fit hand in glove. The meandering opener, "Monk's Cottage," has a recurring call-and-response theme. "The Good Way" has a classical air, with Konitz making a late entrance in a very lyrical setting. The ballad "Ashiya" has a melancholy air, with Lang's piano behind Konitz suggesting a lonely person pacing the floor in despair. The lush romanticism of "Valse Élégance" and the elegant "Casa do Tom" are also highlights. The two musicians collaborated on two brief interludes and the closing "Epilogue."~ Ken Dryden http://www.allmusic.com/album/ashiya-mw0000781594

Personnel: Walter Lang (piano); Lee Konitz (alto saxophone).

Ashiya

---

Keiko Matsui - Journey To The Heart

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 46:41
Size: 107,4 MB
Art: Front

(4:44)  1. Moving On
(4:33)  2. Carnival
(3:22)  3. The Edge of Twilight
(4:43)  4. Butterfly
(5:01)  5. Casablanca
(5:14)  6. Journey to the Heart
(4:00)  7. Havana Nights
(4:53)  8. New Beginning
(5:17)  9. Two Harbors
(4:49) 10. Blue Rose

Out of pain comes growth and in 2007, Keiko Matsui, emerged from a divorce, record label troubles, and embraced her new singularity by striking out in a bold new direction as she traveled to South Africa, paired up with trumpeter Hugh Masakela and the results gave birth to the adventurous Moyo, one of the brightest and best recordings of a 30-year career. Fast forward nine years and Matsui's at it again with Journey To The Heart, a spirited and joyful project that brims with equal parts euphoric passion and unbridled brilliance as Matsui seems invigorated as a player, composer, and bandleader. Paired with a drum-head tight new band, this is her finest musical moment in nearly a decade. Don't call it world beat. Put a Japanese pianist in the studio with a Cuban bassist and drummer, (Del Puerto and Branley) add a guitarist from Peru (Stagnero) and a percussionist from Venzuela (Quintero) then just for grins invite a dazzling harmonica player from Switzerland (Maret) to join in on the festivities, and what you have is Matsui's 27th album as a leader as she stakes out a bold new direction as she moves into more acoustic music. Intact is her signature precision on the piano and her stately compositions and arrangements.

It takes supreme confidence in yourself and your fellow musicians to reign in and allow them to take the lead and compliment them instead of relegating them to little more than sidemen. Taking few solos here, Matsui has always been willing to unselfishly share the spotlight as her duet with Greigoire Maret on the riveting "Two Harbors" is ample evidence of.  "Moving On" and "Carnival" are two romper stompers featuring guitarist Ramon Stagnero who nimbly navigates his way as Matsui trades leads with him until percussionist Luis Quintero brings it home. It's exciting to follow in a way Matsui's recent outings with studio pros were not. Too many musicians reach a stage in their careers where they seemingly say, "That's good enough. I've done a few different things. I can just keep making the same old same old with different titles and it will sell." Maybe that's true for a dinosaur rock band content to go on stage and crank out the hits, but for a jazz artist, that is a shortcut to stagnation and musical death. When jazz musicians play it safe and are content to just make the donuts, it ceases to be jazz and becomes instrumental pop without vocals and who needs that? Keiko Matsui will never get her proper due for remaining true to the spirit of innovators and risk-takers who elevated the idiom, but Journey To The Heart serves as the testimonial she's richly deserving of the accolades. ~ Jeff Winbush https://www.allaboutjazz.com/journey-to-the-heart-keiko-matsui-shanachie-records-review-by-jeff-winbush.php
 

Personnel: Keiko Matsui: piano; Carlitos Del Puerto: bass; Jimmy Branley: drums; Ramon Stagnero: guitars; Luis Quintero: percussion; Gregoire Maret: harmonica; JP Mourao; additional guitar (2), Randy Waldman; string arrangement (4, 6, 8); Gary Stockdale: string arrangement (10)

Journey To The Heart

---

Monty Alexander - Caribbean Circle

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 58:19
Size: 135,8 MB
Art: Front

(1:05)  1. Tradewinds Talk
(6:45)  2. Hurricane Come And Gone
(7:12)  3. Caribbean Circle
(5:05)  4. Consider
(1:15)  5. Cowboys Talk
(8:45)  6. Cowboy Ska Medley
(4:45)  7. Three Little Birds
(5:49)  8. Oh Why? (In Memory Of M.D. Davis)
(1:29)  9. Satchmo Talk
(7:32) 10. When The Saints Go Marching In
(4:38) 11. Mango Walk (Old Fork Song)
(3:54) 12. Sweet Georgia Brown

First-rate example of connecting diverse styles and traditions. Alexander, a solid soloist well versed in Caribbean music, integrates rhythms from the islands into his solos, yet retains the jazz edge and drive. A great supporting cast as well which includes Slide Hampton and Jon Faddis. ~ Ron Wynn http://www.allmusic.com/album/caribbean-circle-mw0000119670

Personnel: Monty Alexander (whistling, piano); Dave Glasser, (alto saxophone); Frank Foster (tenor saxophone); E. Dankworth, Jon Faddis (trumpet); Slide Hampton (trombone); Ira Coleman (acoustic bass); Anthony Jackson (electric bass); Othello Molineax (drums, steel drum); Herlin Riley, Robert Thomas, Jr., Steve Ferrone (drums); Othello Molineaux (steel drum); Marjorie Whylie (percussion).

Caribbean Circle

---

Freddie Redd - With Due Respect

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 62:59
Size: 144,6 MB
Art: Front

(6:49)  1. A Night In Nalen
(7:09)  2. Reminiscing
(7:20)  3. Blue Hue
(3:20)  4. With Due Respect
(7:16)  5. I'm Gonna Be Happy
(7:13)  6. O.D.
(6:23)  7. Olé
(8:10)  8. Lady J. Blues
(9:16)  9. Melanie

Freddie Redd is one of the last living links to the golden age of modern jazz. He started playing the piano after hearing Charlie Parker in the 1940s and made his mark on the scene in 1959 with his score for Jack Gelber's avant-garde play "The Connection." This told the story of a group of junkies, most of them jazz musicians, waiting for their man. When he arrives, everyone shoots up and one of the company dies from an overdose. Happy days! It was later turned into a movie. Redd starred in both play and film. Initially, Gelber wanted the musicians to improvise on blues and standards but when the play was being cast met Redd who suggested an original score which would attempt to depict musically what was happening on stage. The idea was deemed to work well, one critic likening the Redd-Gelber collaboration to that of Kurt Weill and Bertolt Brecht. Alas, posterity didn't agree. During the years that followed, kitchen sink drama went where else? down the drain. Redd continued playing in New York and in Europe but was never able to equal the notoriety fame, if you like he'd experienced with "The Connection."

So in the end he stopped trying to and concentrated instead on writing and playing intelligent, swinging music. At the age of 88, he's still doing just that. Here the "forgotten" pianist/composer leads a sextet of far younger musicians in an excellent, varied program of his own compositions, dusted off and arranged for the modern age by saxophonist Chris Byars. In the opening number, "A Night In Nalen," based on the chords of "Cherokee," Redd captures the restless energy generated at the old Stockholm bop venue, paying a brief homage to Bud Powell in the second chorus. But this album is no easy trip down memory lane. The accent is on creating something new, not old, borrowed or blue. Byars' father, James, a member of the New York City Ballet Orchestra, plays oboe on "Reminiscing," the best track, with a lovely, lilting theme and lazy, "old time" feel that has little to do with bebop. And it's interesting to compare "O.D," from Redd's score for "The Connection" with the same song on his 1961 Blue Note album of music from the play, which featured Jackie McLean on alto a new take but based firmly on the original. In the sleeve note, Byars explains Redd's music as a fusion of the 32-bar AABA popular music framework with jazz and blues. He says, "From a songwriting perspective it's like Bird meets Cole Porter. These tunes are built for speed." The title track reflects on the ups and downs of Redd's life in music with no bitterness, just resignation. To Byars the last word: "Freddie is a storyteller, in his solos and as a composer." ~ Chris Mosey https://www.allaboutjazz.com/with-due-respect-freddie-redd-steeplechase-records-review-by-chris-mosey.php

Personnel:  Freddie Redd: piano;  John Mosca: trombone;  Chris Byars: alto saxophone, flute;  Stefano Doglioni: bass clarinet;  James Byars: oboe;  Jay Anderson: bass;  Billy Drumond: drums.

With Due Respect

---

Chris Cheek - I Wish I Knew

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 52:49
Size: 121,4 MB
Art: Front

(7:00)  1. I Wish I Knew
(5:59)  2. At Long Last Love
(6:21)  3. Skylark
(7:53)  4. Stairway to the Stars
(6:12)  5. I'll Be Seeing You
(6:16)  6. Garden Floor
(5:32)  7. Time Remember
(4:49)  8. I Don't Want to Set the World on Fire
(2:44)  9. What'll I Do

It has long been said that one can tell a mature jazz musician from an up-and-coming one in the way they handle ballads. Most younger players have a tendency to play too many notes with excessive energy, often filling in all the spaces during the slower tempos. Chris Cheek, who judging by the photo on his CD cover is in his 20s or early 30s, is a major exception. Teamed up with guitarist Kurt Rosenwinkel, bassist Chris Higgins and drummer Jordi Rossy in a pianoless quartet, Cheek mostly performs the standards-oriented program at slow speeds and he is not shy of letting his notes ring. Often sounding a bit like Stan Getz, Cheek draws out plenty of emotion from such songs as "I Wish I Knew," "Skylark" and "Stairway to the Stars." While guitarist Rosenwinkel (who has a cool tone but a modern style) provides most of the fire on the ballads, Cheek comes across on a medium-tempo "I'll Be Seeing You" with some advanced melodic improvising a la Warne Marsh. He shows the most individuality on his original "Garden Floor" and Bill Evans' "Time Remembered," closing off the date with an achingly emotional yet restrained version of "What'll I Do." This easily recommended CD was released in 1997 as part of the Spanish Fresh Sound label's "New Talent" series. ~ Scott Yanow http://www.allmusic.com/album/i-wish-i-knew-mw0000666990

Personnel:  Chris Cheek – sax tenor;  Kurt Rosenwinkel – guitar;  Chris Higgins – bass;  Jordi Rossy - drums

I Wish I Knew

---