Silky Denims

Saturday, August 20, 2016

Emilie-Claire Barlow - 2 albums: Happy Feet / Like A Lover

Album: Happy Feet
Bitrate: MP3@320K/s
Time: 68:33
Size: 156.9 MB
Styles: Jazz vocals
Year: 2003
Art: Front

[6:08] 1. Gentle Rain
[7:36] 2. Freddie Freeloader
[4:08] 3. Bem Bom
[5:25] 4. I'll Be Around
[6:37] 5. Joy Spring
[7:43] 6. Bye Bye Blackbird
[4:12] 7. I'm Old Fashioned
[5:24] 8. Paper Moon
[5:59] 9. Stompin' At The Savoy
[5:19] 10. Smoke Gets In Your Eyes
[7:49] 11. Broadway
[2:06] 12. Zabumba No Mar

Because Emilie-Claire Barlow is a female jazz singer from Canada, some American jazz enthusiasts have inevitably compared her to Canada's most famous jazz export: Diana Krall. But truth be told, Barlow doesn't sound anything like Krall. While Krall's performances have a sultry, dusky, very nocturnal quality, Barlow's singing has favored a youthful, girlish sweetness. That isn't to say that Barlow's bop-oriented work is unswinging -- in fact, she has no problem tackling complex arrangements, high-speed scat singing, and vocalese. Besides, Barlow is from Toronto, not western Canada (where Krall grew up). Barlow has spent her entire life in Toronto, where she was born on June 6, 1976. Her father is jazz drummer Brian Barlow, who has also gone by Brian Leonard and is best-known for his work with the Boss Brass (a Canadian big band led by trombonist Rob McConnell). Not surprisingly, the drummer instilled an appreciation of jazz in his daughter and encouraged her to sing. Brian Barlow also encouraged her to study several instruments, including piano, violin, cello, and clarinet. By the time she was seven, Emilie-Claire Barlow was singing for television and radio commercials. She went on to become quite active on Toronto's jazz scene, and in 1997, Emilie-Claire Barlow and her father formed the Barlow Group -- an acoustic-oriented octet whose soloists have included trombonist Russ Little and saxman John Johnson. The singer co-produced her first album, Emilie-Claire Barlow Sings, with her father in 1998 before recording Tribute (also co-produced with Brian Barlow) in 2000 (when she turned 24). Both albums were released independently in Canada on the Rhythm Tracks label. ~ bio by Alex Henderson

Happy Feet

Album: Like A Lover
Bitrate: MP3@320K/s
Time: 50:15
Size: 115.0 MB
Styles: Jazz vocals
Year: 2005
Art: Front

[5:27] 1. Like A Lover
[6:44] 2. On The Sunny Side Of The Street
[4:51] 3. Someone To Watch Over Me
[5:12] 4. A Time For Love
[4:44] 5. So Danço Samba
[5:01] 6. The Things We Did Last Summer
[4:18] 7. (I've Got) Just About Everything I Need
[5:11] 8. Retrato Em Branco E Preto
[4:56] 9. Love Is Here To Stay
[3:47] 10. Blame It On My Youth

When one is analyzing jazz or jazz-influenced pop, it is important to know the difference between sweet and saccharine. Lester Young, Jo Stafford, Stan Getz, Chet Baker, Nat King Cole, the Ink Spots, and Glenn Miller were quite capable of sweetness; Kenny G, Najee, and Dave Koz, on the other hand, have often epitomized saccharine -- they are masters of artificial sweetness. So where does Emilie-Claire Barlow fit in? The Canadian jazz vocalist is definitely sweet -- very sweet -- but there isn't a trace of saccharine on Like a Lover. Barlow brings an enjoyably girlish charm to this self-produced bop CD, although she isn't a girl. Born in 1976, she was in her late twenties when Like a Lover came out in 2005 -- and for Barlow, girlish doesn't mean wimpy, thin-voiced, or unswinging. Barlow has an impressive vocal range, and she definitely swings -- she swings whether she is favoring high-speed exuberance on Bob Dorough's "(I've Got) Just About Everything I Need" or getting into ballad mode on "Blame It on My Youth" and George Gershwin's "Someone to Watch Over Me." She swings whether she is singing in English (her primary language) or detouring into Portuguese on Antonio Carlos Jobim's "So Danço Samba." If Like a Lover has any real weakness, it is the fact that Barlow is much too standards-minded; she picks too many warhorses that have been beaten to death over the years. That isn't to say that Barlow should avoid standards altogether -- only that she needs to find more great songs that haven't been recorded so often. The more Barlow broadens her repertoire, the more she will stand out in the crowded field of jazz singing. But while Like a Lover could have been more adventurous in its choice of material, it's still a likable and pleasing effort from the Toronto-born improviser. ~Alex Henderson

Like A Lover

Torsten Goods - Thank You Baby!

Bitrate: MP3@320K/s
Time: 51:09
Size: 117.1 MB
Styles: Guitar jazz
Year: 2015
Art: Front

[3:24] 1. Work Song
[4:19] 2. Brother Where Are You
[3:28] 3. Midst Of Your Love
[3:47] 4. How Sweet It Is
[4:49] 5. Lord I Need A Woman
[3:42] 6. Kyrie
[4:33] 7. Nobody Knows The Trouble I've Seen
[3:11] 8. Hallelujah I Love Her So
[4:06] 9. Angel
[3:30] 10. Sing Hallelujah
[4:43] 11. Afro Blue
[3:25] 12. Where Did You Sleep Last Night
[4:08] 13. Everything Must Change

Torsten Goods / vocals & guitar; Roberto Di Gioia / Fender Rhodes & piano; Tim Lefebvre / Fender Jazz Bass & double bass; Wolfgang Haffner / drums.

Since the release of his last album “Love Comes To Town“, word has it that Torsten Goods “is a master of groove“ (Süddeutsche Zeitung), “pop jazz hasn't felt this good since George Benson“ (Kulturnews), because he “plays the guitar like George Benson, sings like Frank Sinatra and composes like Joe Sample“ (Süddeutsche Zeitung). However this 34- year -old is not one to rest on his laurels. Following an early breakthrough in his mid - twenties, he set himself new goals: a move from Nuremberg to Berlin was followed by performances with great jazz musicians like Till Brönner and further establishing his musical identity, among other things by working with pop stars such as Sarah Connor.Spirituals, blues and roots music form the creative foundation for “Thank You Baby!“

Thank You Baby!

Chubby Checker - The Best Of Chubby Checker

Bitrate: MP3@320K/s
Time: 56:58
Size: 130.4 MB
Styles: R&B, Rock N Roll
Year: 2005
Art: Front

[2:04] 1. Dancin' Party
[2:33] 2. The Twist
[2:19] 3. Toot
[2:14] 4. The Class
[2:30] 5. Twistin' U.S.A
[2:29] 6. The Hucklebuck
[2:30] 7. Whole Lotta Shakin' Going On
[2:27] 8. Pony Time
[2:13] 9. Dance The Mess Around
[2:22] 10. Good, Good Lovin'
[2:16] 11. Let's Twist Again
[2:28] 12. The Fly
[2:29] 13. Slow Twistin'
[2:23] 14. Popeye The Hitchhiker
[2:21] 15. Limbo Rock
[2:12] 16. Let's Limbo Some More
[2:11] 17. Hooka Tooka
[2:07] 18. Loddy Lo
[2:16] 19. Hey, Bobba Needle
[2:18] 20. Birdland
[2:29] 21. Surf Party
[2:34] 22. Twist It Up
[2:33] 23. Twistin' Round The World
[2:29] 24. Jingle Bell Rock

For a variety of reasons, all of the recordings for Cameo Parkway remained out of circulation until 2005, when Abkco finally unveiled the catalog, first as a box set called Cameo Parkway 1957-1967 in the spring, then as a series of individual artist compilations in the fall. Of those, the most eagerly-awaited collection was the one spotlighting Chubby Checker, since he was the biggest star on the label and the guy that got America twisting in the early '60s. Checker might have had big hits, but his compilation, The Best of Chubby Checker: Cameo Parkway 1959-1963, is musically the thinnest of all the Cameo Parkway titles released in 2005. Checker wasn't much of a vocalist -- he got his break because he was an excellent mimic, capable of imitating such early rock & rollers as Fats Domino quite expertly (born Ernest Evans, the singer even played off Domino's name when he came up with an alias for the stage). His first big break was "The Class," where he did impressions of Fats, Elvis and, bizarrely, the Chipmunks, but his big hit came when he did a song-length impression of Hank Ballard doing "The Twist" in 1960. As Jeff Tamarkin points out in his good liner notes to this compilation, Chubby's version of "The Twist" was "virtually identical to Ballard's," but Checker and Cameo Parkway were based in Philadelphia, the home of Dick Clark's American Bandstand, where the singer and the song got enormous exposure. After it became a huge national hit, Checker and Cameo Parkway went back to the well numerous times -- "Twistin' USA," "Let's Twist Again," a version of "Whole Lotta Shakin' Going On" that contains all of Jerry Lee Lewis' ad-libs, yet Chubby sings "whole lotta twistin' goin' on" -- before the craze died down a bit. Once that happened, there were other dances to do -- "The Hucklebuck," "Pony Time" -- which also produced several sound-alike records from Checker himself before "The Twist" came back, prompting another round of twist songs, like "Slow Twistin'." Then, Checker had another dance craze with "Limbo Rock" (predictably followed by "Let's Limbo Some More"), before he had a brief phase as a folk-pop singer pitched halfway between Harry Belafonte and the Rooftop Singers. When that ran dry, it was back to the Twist ("Twist It Up," "Twistin' Round the World"), before he parted ways with the label and slowly receded to the oldies circuit.

What ties all this music together, even the folk excursion, was that it was lightweight dance music and, when taken together as a full album, it gets to be a little bit much. Checker sings each song the same way, the beats are all the same, and often the songs recycle the same chords, sometimes even the word and hooks. This was music that was meant to exist in the moment and decades later, it sounds trapped in that moment -- it hasn't aged as well as the best rock & roll of the early '60s, not even the novelties. Checker doesn't have forgotten classics -- even some of hits wear out their welcome quickly -- so this will wear out its welcome quickly for all but those that have a high tolerance for his work, or have a great nostalgia for this time. For those listeners, this is a good compilation -- the sound is good, the notes are good and at 24 tracks, this is quite generous -- but all other listeners will find that Checker's hits are better heard on the Cameo Parkway set, where they're balanced by other, better singles in the same vein. ~Stephen Thomas Erlewine

The Best Of Chubby Checker

Lou Donaldson - Pretty Things

Styles: Saxophone Jazz
Year: 1970
File: MP3@320K/s
Time: 38:45
Size: 89,0 MB
Art: Front

(6:39) 1. Tennessee Waltz
(5:47) 2. Curtis' Song
(6:34) 3. Sassie Lassie
(5:28) 4. Just for a Thrill
(8:11) 5. Pot Belly
(6:03) 6. Love

Lou Donaldson has recorded many strong sessions throughout his career but this CD reissue brings back one of the less-significant ones. Organist Leon Spencer dominates the ensembles, the material is a bit trivial and the altoist/leader uses a baritone sax on some of the selections which makes him sound much less individual than usual. Trumpeter Blue Mitchell's solos and a fine closing jam on "Love" help upgrade the music a bit but there are many better Donaldson recordings to acquire first. ~ Scott Yanow http://www.allmusic.com/album/pretty-things-mw0000103323

Personnel: Lou Donaldson (alto saxophone); Blue Mitchell (trumpet); Leon Spencer Jr., Lonnie Smith (organ); Ted Dunbar, Melvin Sparks (guitar); Jimmy Lewis (bass); Idris Muhammad (drums).

Pretty Things

Karen Mason - When The Sun Comes Out

Styles: Vocal, Cabaret, Stage & Screen
Year: 2001
File: MP3@320K/s
Time: 52:44
Size: 121,5 MB
Art: Front

(3:04) 1. Downtown - I Know A Place
(3:51) 2. How Long Has This Been Going On?
(4:14) 3. We Never Ran Out Of Love (We Just Ran Out Of Time)
(3:25) 4. Taking A Chance On Love
(3:07) 5. Up On The Roof
(4:35) 6. It Had To Be You
(3:22) 7. When In Rome
(4:22) 8. Shoot For The Moon
(4:20) 9. Stormy Weather - When The Sun Comes Out
(3:26) 10. I'm Happy Just To Dance With You
(3:09) 11. Maybe This Time
(3:47) 12. I Wanna Be Around
(4:20) 13. I Promise You A Happy Ending - Hey There Good Times
(3:35) 14. I Have A Dream

Karen Mason is a veteran of the New York cabaret scene as well as the musical stage, appearing in such vehicles as Sunset Boulevard and Play Me a Country Song. The play list is a combination of staples combined with more contemporary material. Irrespective of musical lineage, all the songs have a tale to tell fitting for telling by a cabaret performer. A bevy of arrangers and orchestrators have shaped the music so as to give it a fresh look as well as attuning it to the vocal strengths of Mason, which are considerable. With a powerful voice that she skillfully uses to express the emotions of the lyrics she sings, she easily moves from the intense to the tender, sometimes in the same song, as on "We Never Ran out of Love (We Just Ran out of Time)." "I Wanna Be Around" is given a whole new look, starting off almost conversational, then building up to full crescendo, reaching almost operatic, aria heights, coming to a coda. Johnny Mercer would have approved. Matters lighten up with Mason's cover of Petula Clark's big hit, "Downtown," which is done with a jazzy beat behind Mason's high-stepping delivery. Mason also uses her slight vibrato as a punctuation mark to emphasize dramatic points in her interpretations, such as on "How Long Has This Been Going On." Another factor making this album attractive is the use of real musicians rather than electronically created instrumentation, which is regrettably becoming the vogue with Mason's contemporaries. While the main support comes from pianists Christopher Denny and Dick Gallagher, the horn players get some licks on the happily raucous medley of "I Promise You a Happy Ending"/"Hey There, Good Times." This album is another winner for cabaret fans. ~ Dave Nathan http://www.allmusic.com/album/when-the-sun-comes-out-mw0000656963

When The Sun Comes Out

Duke Jordan - Flight To Denmark

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 71:47
Size: 181,5 MB
Art: Front

(6:47) 1. No Problem
(7:23) 2. Here's That Rainy Day
(5:43) 3. Everything Happens To Me
(5:05) 4. Glad I Met Pat (take 3)
(5:27) 5. Glad I Met Pat (take 4)
(7:26) 6. How Deep is the Ocean
(8:23) 7. On Green Dolphin Street
(3:44) 8. If I Did - Would You (take 1)
(3:52) 9. If I Did - Would You (take 2)
(5:48) 10. Flight to Denmark
(7:11) 11. No Problem (take 2)
(4:55) 12. Jordu (take 1)

Upon Duke Jordan's initial visit to Copenhagen, Denmark, followed by his decision to make the move as an expatriate permanent, he was tempted to stay by playing with some extraordinary Scandinavian rhythm sections. Bassist Mads Vinding, one of many skilled Danish jazz bassists, is here on the date performing in fine style. Drummer Ed Thigpen, who left the U.S. to take up permanent residence in Europe, was an even bigger influence in making Jordan's decision a good one, and is an equally skillful musical partner on this date. This is an expanded edition from the previous original issue on the Steeplechase label; a Japanese import with several alternate takes. It's an understated session for the most part, equal parts melancholy and hopeful, as one might expect with the trepidation of leaving home for new, unknown horizons to be discovered in a foreign land. The upbeat songs, as the modal, popping, tom-tom driven "No Problem" (from the movie soundtrack Les Liason Dangereuses) and the famous bop flag-waver "Jordu," bookend the CD. The bulk of the recording showcases the softer side of Jordan, with takes of the somber ballad "Here's That Rainy Day," the slightly brighter "Everything Happens to Me," and two versions of the polite waltz "Glad I Met Pat," dedicated to a nine-year-old girl Jordan knew in New York City prior to her being kidnapped. The pianist employs chiming piano chords for "How Deep Is the Ocean?," is lighthearted in his slight interpretation of the well worn "On Green Dolphin Street," does two takes on the light, bluesy swinger "If I Did, Would You?," and ramps up to midtempo the bluesy original "Flight to Denmark," reflective of the insecurity and consequential optimism that followed his leaving the States. This is Duke Jordan at his most magnificent, with the ever-able Vinding and expert Thigpen playing their professional roles perfectly, producing perhaps the second best effort (next to Flight to Jordan from 13 years hence) from the famed bop pianist. [Originally released in 1973, Flight to Denmark was reissued as an import-only Japanese CD in 2002.] ~ Michael G.Nastos http://www.allmusic.com/album/flight-to-denmark-mw0000725952

Personnel: Duke Jordan – piano; Mads Vinding – bass; Ed Thigpen - drums

Flight To Denmark

Sonny Fortune - Invitation

Styles: Saxophone And Flute Jazz
Year: 1987
File: MP3@320K/s
Time: 55:43
Size: 127,8 MB
Art: Front

( 6:50) 1. It's a Bird
( 8:16) 2. Space in Time
( 8:46) 3. Jamf
( 5:46) 4. 5/4 Train
(10:39) 5. Invitation
( 9:30) 6. Real Knowing
( 5:53) 7. Mr. P.C.

Philadelphia born reedman Sonny Fortune moved to New York in 1967 after playing with R & B bands in his home town. He appeared live and recorded with drummer Elvin Jones and subsequently Mongo Santamaria and pianist McCoy Turner. In 1974 he replaced David Liebman in Miles Davis' band, recording 4 albums with Miles in 1974/1975. Since then Fortune has had albums on Blue Note, A&M and Atlantic. This 1987 date featuring Renee Rosnes, Kenny Davis and Ronnie Burrage, was one of producer Masahiko Yuh's last dates for the Why Not label. ~ Editorial Reviews https://www.amazon.com/Invitation-Sonny-Fortune/dp/B0042OZDG6

Personnel: Renee Rosnes (piano); Ronnie Burrage (drums); Sonny Fortune (flute, alto saxophone).

Invitation

Friday, August 19, 2016

David Liebman & Gil Goldstein - West Side Story (Today)

Size: 145,1 MB
Time: 62:02
File: MP3 @ 320K/s
Released: 1990
Styles: Jazz
Art: Front

01. Something's Coming (5:41)
02. Tonite, Tonite (7:45)
03. Cool (6:26)
04. One Hand, One Heart (7:28)
05. Jet Song (5:33)
06. Somewhere (5:14)
07. A Boy Like That - I Have A Love (8:16)
08. I Feel Pretty (4:45)
09. Maria (5:03)
10. America (5:47)

Personnel: David Liebman (soprano saxophone); Gil Goldstein (piano, synthesizers).

Recorded September 29, 30 1990 at Centerfield Productions Studio, New York.

A 1991 reworking of already overworked material. West Side Story Today songs Both musicians are fine players. ~Ron Wynn

West Side Story (Today)

Carol Duboc - Open The Curtains

Size: 101,8 MB
Time: 41:42
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Smooth Jazz, R&B, Funk
Art: Front

01. In Pieces (Feat. Mindi Abair & Sheila E.) (3:28)
02. Feeling Good (Feat. Patrice Rushen & Rhonda Smith) (3:46)
03. Open The Curtains (Feat. Patrice Rushen) (4:51)
04. Forget Me Nots (Feat. Patrice Rushen & Bibi McGill) (5:00)
05. Whisper (Feat. Patrice Rushen) (4:27)
06. Faces (Feat. Patrice Rushen & Jennifer Batten) (3:43)
07. Fever (Feat. Aubrey Logan) (4:09)
08. Miss You Missing Me (3:25)
09. Precious (Feat. Mindi Abair) (3:57)
10. I'm Gone (Feat. Jennifer Batten) (4:51)

Jazz vocalist and pianist Carol Duboc delivers her eighth solo album presenting seven vibrant originals and three cover tunes on a set of jazz, R&B, funk and Smooth-styled music on the exciting Open The Curtains. Making this a special recording for Duboc, the singer illuminates the power of women by assembling an all-star, talented cast of female players including Patrice Rushen, Sheila E, and Mindi Abair among others. The result of course, is a collection of hard-driving soulful songs with an appreciable groove propelling the music forward.

The gyrating and percussive "In Pieces," starts the ball rolling featuring the Afro-Latin funk sounds of Sheila E pounding the rhythm as saxophonist Abair extends herself on a burning solo, the song was inspired by a partnership that didn't go well and the tune is meant to convey the act of bouncing back and not falling to pieces. "Feeling Good" is one of the covers of the set and a tribute piece to the great Nina Simone, in which the singer voices the lyrics with emotion and a bit of soul. The title track brings out the funk-side of the leader as she and the ladies who provide the background vocals, reveals what's behind the curtains: high-octane funk and superb piano work by Rushen.

Having perhaps one of the finest melodies of the session, the light "Whisper" is one of the standout songs of the album featuring Rushen on Fender Rhodes, Bibi McGill on guitar, bassist Rhonda Smith and Cora Coleman (Queen Cora) on the drums. All the ladies seem to get into the action on the fast-paced swinging and R&B-styled "Faces," a personal favorite of the leader that here, provides one shoulder-moving statement. The vocalist sings one sultry and seductive rendition of the classic "Fever," showcasing Aubrey Logan on the trombone and Queen Cora on the drums.

The Queen is also on tap on the hard-driving "Miss You Missing Me," as Duboc belts out the lyrics and the drums pound out the beats on another upbeat and lively song. The music begins to close on the delicate and smooth-styled "Precious" highlighted by Abair's soothing soprano saxophone voice and comes to an end on the funky/R&B-tinged finale "I'm Gone," as the songstress reaches and provides a graceful exit. A gifted singer and composer, Carol Duboc unveils an enchanting and tasteful selection of songs designed to get one moving and bopping your head when you Open The Curtains, well done! ~Edward Blanco

Personnel: Carol Duboc: vocals; Patrice Rushen: piano; Fender Rhodes, synthesizer, organ; Cora Coleman (Queen Cora): drums; Rhonda Smith: upright bass, electric bass; Sheila E: percussion; Mind Abair: tenor saxophone, soprano saxophone; Bibi McGill: Guitars; Jennifer Batten: Guitar (6, 10); Aubrey Logan: trombone (7); Anna Duboc: background vocals (3); Ava Dela Cruz: background vocals (3).

Open The Curtains

Jeri Southern - You Better Go Now / When Your Heart's on Fire

Styles: Vocal Jazz
Year: 1996
File: MP3@320K/s
Time: 77:00
Size: 177,8 MB
Art: Front

(3:02) 1. You Better Go Now
(3:14) 2. Give Me Time
(3:44) 3. Something I Dreamed Last Night
(3:12) 4. The Man That Got Away
(3:07) 5. When I Fall in Love
(2:55) 6. Just Got to Have Him Around
(3:11) 7. Dancing on the Ceiling
(2:40) 8. Speak Softly to Me
(3:08) 9. What Good Am I Without You
(3:14) 10. I Thought of You Last Night
(3:19) 11. That Ole Devil Called Love
(3:14) 12. Remind Me
(3:51) 13. Smoke Gets in Your Eyes
(2:49) 14. Can I Forget You
(3:51) 15. Little Girl Blue
(3:28) 16. I Remember You
(3:45) 17. He Was Too Good to Me
(2:22) 18. You're Driving Me Crazy
(2:40) 19. You Make Me Feel So Young
(3:51) 20. Someone To Watch Over Me
(2:32) 21. Autumn in New York
(3:56) 22. My Ship
(3:33) 23. No More
(2:10) 24. Let Me Love You

If you were to leaf through all the material written about Jeri Southern in the past five years or so by record reviewers, night club critics, newspaper columnists and others, you would notice a constant recurrence of such words as delicacy, sensitivity, taste, subtlety and restraint. If you find these qualities admirable, then it's a fine experience you have in store as you listen to these lyrical little milestones in Miss Southern's recording career. On some of them she sounds very close to tears, on others she sounds wise and profound and perhaps just a bit cynical. Sometimes she seems like a wistful little girl, and the next minute she's silken and sultry and seductive. The moods are many and complex, and they are all Jeri Southern's. They are all yours too, to share with her here in this album. ~ Editorial Reviews https://www.amazon.com

Personnel : Jeri Southern (vocals, piano); Camarata, Sy Oliver, Sonny Burke, Lew Douglas, Norman Leyden (conductor).

You Better Go Now / When Your Heart's on Fire

Joe Henderson - Inner Urge

Styles: Saxophone Jazz

Year: 1964

File: MP3@320K/s

Time: 43:19

Size: 99,3 MB

Art: Front

(11:59) 1. Inner Urge

( 9:15) 2. Isotope

( 7:16) 3. El Barrio

( 7:22) 4. You Know I Care

( 7:24) 5. Night and Day

This brilliant remastering of saxophonist Joe Henderson's most emotionally urgent album also raises the possibity that it is the ultimate showcase of his distinguished career. The deference to Coltrane is obvious: pianist McCoy Tyner and drummer Elvin Jones are on board on every selection, although shifting their styles to mesh with Henderson. The deference to Getz is more subtle, coming clear on Henderson's stingingly lyric ballad feature, "You Know I Care," and his melodic recasting of Cole Porter's "Night and Day." Weaving a path between Coltrane's fiery sermonizing and Getz's singable romanticism, Henderson displays a wholly individual sense of phrasing that alternates molten passionate engagement with cool reflection. The title track is an eleven minute tour de force of musical storytelling, comprising an evocation of Henderson's scuffling for work and recognition in the Big Apple, the tenor man's frustrating rite of passage. You hear plenty of hoarse cries, moans, and barbaric yelps, but you can hear episodes of great restraint within a loose blues structure.

"El Barrio" digs as deeply into the Latin mode as Henderson ever went, again emphasizing a nearly stragulated, gruff sax sound interrupted by beautifully full tones. The empathy with Tyner and Jones is palable throughout the album. They're egging him on, but oh so gently, giving Henderson tons of space to sink or swim in. Henderson thrives in their presence, their hyper-kinetic backing, and bassist Bob Cranshaw, while not as flashy as Jones, definitely keeps the rhythm lines lively. The album seems like an apotheosis of hard bop, a ruthlessly probing amplication of a typical, hard-blowing, Blue Note bop session, pushing bop formulas as far as they could be pushed. As such, I consider it not only one of the best dozen Blue Note sessions ever released, I hear it as one of the major statements of jazz in the '60s, actually recreating the political, economic, and social realities of the turbulent times more precisely than most recorded music of the '60s in any style. An absolutely essential listen and a major masterpiece. ~ Norman Weisntein https://www.allaboutjazz.com/inner-urge-joe-henderson-blue-note-records-review-by-norman-weinstein.php

Personnel: Joe Henderson (tenor saxophone); McCoy Tyner (piano); Bob Cranshaw (bass instrument); Elvin Jones (drums).

Inner Urge

Lou Donaldson - Lou Takes Off

Styles: Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 38:20
Size: 88,2 MB
Art: Front

(10:05) 1. Sputnik
( 7:17) 2. Dewey Square
(14:34) 3. Strollin' In
( 6:22) 4. Groovin' High

A cadre of young musicians, each who would, in time, evolve into a master, is caught as they begin to shine early on for this fireball 1957 set. A thinly disguised take on Cole Porter's "What Is This Thing Called Love?" is the opening tune, altoist Lou Donaldson's "Sputnik." It launches matters at full throttle, with Donaldson unmistakably reflecting Charlie Parker's then still very fresh and vibrant influence. Joining the pulsating rhythms is a young Donald Byrd, whose ebullient trumpet intonation makes for a perfect complement to Donaldson's sweet bop heat. Adding more flavor is a strong rhythm section driven by the breathtaking marathon-paced drumming of Art Taylor.

A bop classic, Charlie Parker's own "Dewey Square," includes a showcasing solo from the too-soon-gone Sonny Clark, who was already displaying his rhythmically sophisticated and seriously playful piano. Easing in and out smoothly on the tune is Curtis Fuller, who was already demonstrating the JJ Johnson-influenced technique that, as composer and trombonist, has led to his playing with a galaxy ranging from Miles Davis and John Coltrane to Count Basie and many more. On another Donaldson piece, "Strollin' In," Fuller's sound is so varied and sweet it's as if he's just invented a new instrument. And Clark's piano is so mesmerizing one can only regret, again, that his life was so short. If Lou Takes Off is not an essential set, it is a fascinating one, if only historically. It's a welcome opportunity to savor a steaming, vivid and fascinating session when a band of young lions were clearly on the verge of greatness. ~ Andrew Velez https://www.allaboutjazz.com/lou-takes-off-lou-donaldson-blue-note-records-review-by-andrew-velez.php

Personnel: Lou Donaldson: alto saxophone; Donald Byrd: trumpet; Curtis Fuller: trombone; Sonny Clark: piano; Jamil Nasser: bass; Art Taylor: drums.

Lou Takes Off

Seamus Blake - Stranger Things Have Happened

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 61:54
Size: 142,4 MB
Art: Front

( 8:23) 1. Perk
(10:07) 2. Happenstance
( 4:49) 3. Northern Light
( 7:52) 4. Token Cello
(10:48) 5. Extranjero
( 7:33) 6. G.S.S.
( 8:13) 7. Taurus People
( 4:06) 8. Of Ours

Seamus Blake's first disc on the Fresh Sound New Talent label is a marvelous showcase not only for the leader but also for guitarist Kurt Rosenwinkel, the album's other prominent solo voice. Bassist Larry Grenadier and drummer Jorge Rossy, together the backbone of Brad Mehldau's famous trio, lay down the ideal rhythmic universe for Blake and Rosenwinkel to flourish in. Opening with the wild, funkified double-time of "Perk," the group goes on to traverse a wide swath of territory, from the classic post-bop swing of "Happenstance" and "G.S.S." to the experimental sounds of "Token Cello" and "Of Ours." Jesse Harris guests on second guitar for "Northern Light," a song that almost sounds like Simon & Garfunkel. (There's an uncredited vocal performance, probably by Blake.) "Extranjero," a lilting soprano sax feature, and Farouq Dawad's fast-swinging "Taurus People," the sole non-original piece, complete the inspired program. With Stranger Things Have Happened, Seamus Blake proves many times over that he can go toe-to-toe with great young tenors like Joshua Redman, Chris Potter, and Mark Turner. ~ David R.Adler http://www.allmusic.com/album/stranger-things-have-happened-mw0000672257

Personnel: Seamus Blake (saxophone), Kurt Rosenwinkel (guitar), Larry Grenadier (bass), Jorge Rossy (drums), Jesse Harris (guitar)

Stranger Things Have Happened

Cyrus Chestnut - Journeys

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 59:13
Size: 136,2 MB
Art: Front

(4:49) 1. Smitty's Joint
(6:27) 2. Lover
(4:44) 3. Eyes of an Angel
(5:52) 4. Little Jon
(5:56) 5. New Light
(5:31) 6. Journeys
(5:16) 7. The Flowers on the Terrace
(7:00) 8. Yu's Blues
(4:39) 9. In the Still Hours
(8:54) 10. Goliath

During a career spanning 20 years, Cyrus Chestnut has risen to be one of the most esteemed and productive of jazz pianists. Journeys makes 16 recordings under his name. He regularly performs with his trio and is the go-to guy on numerous recording dates and gigs. Having apprenticed with the incomparable vocalist Betty Carter, Chestnut's playing displays a style and technical virtuosity that has him compared to jazz legends from Jelly Roll Morton and Oscar Peterson to Tommy Flanagan. Not associated with a particular style, he displays a wide range with his roots in church music, planted by his father, a pastor.
Journeys features his current touring partners bassist Dezron Douglas and drummer Neal Smith turning out an estimable recording that amply shows off his compositional skills in nine originals. The recording starts with a blast on "Smitty's Joint," with Chestnut's fingers a blur on the keyboard. Douglas adds a spirited bass bit and Smith contributes vigorously. Chestnut then has fun with the disc's only standard, Rodgers and Hart's venerable "Lover," upping the tempo and bringing in boppish filigrees. Throughout, Chestnut embellishes songs in creative ways. On "Eyes of an Angel," he uses tremolo effects to decorate the simple melody, while "Little Jon" starts with a jive riff and proceeds to a stirring climax. With the title tune, Chestnut does evoke a journey; a majestic march to Smith's fluttering drums. "Yu's Blues" is a moody late-night blues, with the noirish Douglas' enhancing the feel. "Goliath" is the album's showpiece, its complex structure beginning quietly, but moving to a mesmerizing climax, amidst Chestnut's swirl of notes, layered over Douglas' steady bass line. This song represents what Chestnut shows throughout Voyage an ability to surprise, with unexpected turns and provocative phrasing. ~ Larry Taylor https://www.allaboutjazz.com/journeys-cyrus-chestnut-jazz-legacy-productions-review-by-larry-taylor.php

Personnel: Cyrus Chestnut: piano; Dezron Douglas: bass; Neal Smith: drums.

Journeys

Thursday, August 18, 2016

Bonnie Lowdermilk - Up To Now

Size: 140,5 MB
Time: 60:07
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz Vocals
Art: Front

01. Day By Day (3:57)
02. You've Changed (4:33)
03. Jitterbug Waltz (3:46)
04. Get Out Of Town (6:03)
05. All That I Knew (3:17)
06. Nobody Else But Me (3:01)
07. Bankin' On The Moon (4:28)
08. Joy Spring (2:56)
09. It Might As Well Be Spring (6:29)
10. Whistlin' In The Dark (3:43)
11. Power Tool (4:54)
12. Moon River (4:43)
13. Fools Fall In Love (4:50)
14. Dancing In The Dark (3:19)

It has taken cool jazz singer/pianist Bonnie Lowdermilk a little more than a decade to resurface after releasing her debut CD This Heart Of Mine with the Fred Hersch Trio to deliver her follow-up album Up To Now. With all arrangements made by Lowdermilk, the album showcases a broad range of standards from the upbeat swing kilting of Cole Porter’s “Get Out Of Town” to Henry Mancini’s puttering carousal ride “Whistlin’ In The Dark,” in addition to a few originals written by Lowdermilk like the silky beading of “Bankin’ On The Moon“ and the gently propelled “All That I Know.” Assisting Lowdermilk with the swing-inspired rhythms and carpeting of harmoniously groomed motifs are bassists Ken Walker and Mark Simon, drummer Colin Stranahan, trumpeter Greg Gisbert, saxophonist Peter Sommer, and trombonist Nelson Hingle.

Lowdermilk is schooled in tailoring her vocal melodies to the mood of the music as she vacillates from traipsing like a woodland sprite in “Day By Day” to crooning like a maiden whose fantasy-man has lost his luster in “You’ve Changed“ and scatting like a cat indulging her freewill in “Joy Spring.” Her vocal strut boasts a self-assurance relatable to Diana Krall and a rhythmic chiming reflective of Dena DeRose. Lowdermilk adds personality and poignant inflections through Oscar Hammerstein II and Jerome Kern’s tune “Nobody Else But Me,” and evokes pure emotion along the wispy strokes of “Moon River” as her vocals advance and ebb along the ducts of lacy piano keys. The horn arrangement opening “Power Tool” exude a spirited rhapsody which switches directions and fosters a supper club atmosphere in “Dancing In The Dark.” Lowdermilk’s style of singing is dapper chaffed in roughly cut edges that give her resonance a rugged texture that is both real and attractive.

Writing and performing for two decades now, Bonnie Lowdermilk has honed her craft to a Dianne Reeves-sparkle. Over the years, Lowdermilk has worked in a wide array of forums from being a solo artist to performing in duets, trios, quartets, quintets, and sextets in clubs, concerts, parties, festivals, and other events. Her palate is broad as she is able to sing in French, Portuguese and English, and groomed as an instructor to administer piano and vocal lessons. Lowdermilk has a penchant for grabbing a song’s reins with a firm grip, and thrusting her voice forward displaying a clarity and elasticity that is inviting as she asserts a bold presence in the vocal melodies relatable to such prominent singers as Frank Sinatra and Wayne Newton. ~by Susan Frances

Up To Now

Brian Charette - Once & Future

Size: 136,6 MB
Time: 58:29
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz, Hammond Organ
Art: Front

01. Jitterbug Waltz (4:14)
02. Tyrone (3:39)
03. Latin From Manhattan (3:54)
04. Da Bug (4:05)
05. At Last (4:48)
06. Hot Barbeque (4:29)
07. Dance Of The Infidels (3:02)
08. Zoltan (4:51)
09. The Scorpion (4:43)
10. Falling Fourth (3:19)
11. Ain't It Funky Now (3:34)
12. Mellow Mood (4:15)
13. Road Song (4:15)
14. Blues For 96 (5:14)

Nobody who wields an instrument of any sort can truly escape the gravitational pull of history. There are many who try to fight it, but better to embrace what came before, acknowledge where a sound or concept originates, and use that knowledge as both a port of arrival and a point of departure. There are no severed ties between past, present, and future; there are only visible and obscured links.

Organist Brian Charette's fourth album on the Posi-Tone imprint is fully invested in that art of recognition, the belief in invention, and, perhaps most importantly, reconciliation between the two. Charette covers a good deal of music written by or associated with some iconic organists—Fats Waller, Jimmy Smith, Brother Jack McDuff, and Larry Young among them—and puts the material through his own spin cycle, influenced by modernists among us like the forward-thinking Sam Yahel and chops 'n' groove champion Joey DeFrancesco. The album falls a notch or two lower on the quirky/freewheeling scale than his previous releases for the label, but it's just as enjoyable and listener-friendly.

Charette travels through fourteen songs here with a pair of label-mates who are well-suited to this environment—guitarist Will Bernard and drummer Steve Fidyk. Together they reconstitute a series of classics and should-be classics with originality and taste, mixing in three originals from the leader for good measure. Jocular moods and serious skills mix often, grooves run deep, and transience triumphs, both in terms of style and song length. This crew moves easily and quickly from funk to swing and soul to bop while extending on the tradition(s).

That once and future blend is always in sight, as demonstrated right off the bat on the back-to-back pairing of Waller's "Jitterbug Waltz" and Young's "Tyrone." The former is tied to the jovial, cascading melodic truths of its origins while the latter is reborn as a funky vehicle in seven. The remainder of the program is no less invested in the idea of bridging then with now. Charette and company have a blast visiting and/or retooling different times, places, and styles—hard bop via "Da Bug," a twenty-four bar blues waltz from Freddie Roach; boogaloo in the form of McDuff's "Hot Barbecue"; straight-up dance floor designs, courtesy of James Brown's "Ain't It Funky Now"—and they invite the listener to smile and join in the party. ~Dan Bilawsky

Personnel: Brian Charette: organ; Will Bernard: guitar; Steve Fidyk: drums.

Once & Future

Pearl Bailey - The Best

Size: 152,5 MB

Time: 64:44

File: MP3 @ 320K/s

Released: 2016

Styles: Jazz Vocals

Art: Front

01. Blue Grass (3:19)

02. I Ain't Talking Though It's All Over Town (2:42)

03. Personality (3:11)

04. Me And My Shadow (2:42)

05. Don't Ever Leave Me (2:13)

06. Old Man, You Been Gone Too Long (2:58)

07. It's A Woman's Prerogative (3:08)

08. Legalize My Name (3:09)

09. As Long As I Live (2:28)

10. Who (2:50)

11. Row, Row, Row (3:03)

12. A Little Learnin' Is A Dangerous Thing (6:31)

13. Baby, It's Cold Outside (2:56)

14. Vagabond Shoes (2:30)

15. I'm Lazy That's All (2:34)

16. Nothin', Nothin' Baby Without You (3:19)

17. Let There Be Love (2:46)

18. Fifteen Years And I'm Still Serving Time (3:02)

19. She's Something Spanish (2:50)

20. That's No Way To Do (3:02)

21. Protect Me (3:20)

An uninhibited vocalist who gave more to her performances than any other singers around, Pearl Bailey gained fame for her work in Broadway, cabaret, and Hollywood. Bailey's sultry, slurred delivery livened up many a stale standard, including "Baby It's Cold Outside" and her only hit, "Takes Two to Tango." The daughter of a preacher, Bailey began singing at the age of three (her brother, Bill Bailey, also taught her a few dance steps). She was performing professionally by her early teenage years and after touring as a dancer for several years, she featured both as a singer and dancer with jazz bands led by Noble Sissle, Cootie Williams, and Edgar Hayes. She began performing as a solo act in 1944, and wooed night club audiences with her relaxed stage presence and humorous asides. After briefly replacing Sister Rosetta Tharpe in Cab Calloway's Orchestra during the mid-'40s, she debuted on Broadway during 1946 in the musical St. Louis Woman. Bailey earned an award for most promising newcomer, and made her first film, Variety Girl, in 1947. Though it wasn't a hit, her version of "Tired" (from Variety Girl) increased her standing in the jazz community. She recorded for several different labels, including Columbia, during the '40s and finally found a hit in 1952 after signing to Coral. Her version of "Takes Two to Tango," backed by Don Redman's Orchestra, hit the Top Ten. That same year, she married drummer Louie Bellson, and he left his position with Duke Ellington to become her musical director. Bailey recorded several albums for Coral during the early '50s, and starred as a fortune teller in the 1954 film Carmen Jones. More starring roles followed, in the W.C. Handy biopic St. Louis Blues as well as the first filmed version of Gershwin's classic operetta Porgy and Bess. In 1959, a new recording contract (with Roulette) resulted in a change of direction. After her double-entendre LP For Adults Only was banned from radio play, it became a big seller and occasioned a string of similar albums during the early '60s. She continued to perform on Broadway, and won a Tony award in 1970 for her title role in Hello, Dolly!. She led her own television variety show in 1971, but retired from active performance several years later. Pearl Bailey was named to the American delegation to the United Nations in 1976, and awarded the Medal of Freedom in 1988. ~John Bush

The Best

Jerome Epps - Sophisticated Funk

Size: 102,3 MB
Time: 41:39
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Funk
Art: Front

01. Sophisticated Funk (6:04)
02. Nasty Funk (5:41)
03. Motherfunk (4:15)
04. J-Funk (5:54)
05. Funk Bounce (4:51)
06. Neon Funk (5:17)
07. Carousel Funk (4:46)
08. Jazz Brunch (4:47)

I’ve always been influenced by many genres of music, but Funk music lies at the roots of my journey. This album is a compilation of Contemporary Jazz Funk Fusion & hip hop grooves. During the recording of this album I could feel the spirit of Jazz Funk Legends like Herbie Hancock, George Duke, James Brown, George Clinton and Prince running through my veins. It’s these legends of the past, present & future that have inspired me to bring you “Sophisticated Funk”. Home is where the Funk is and it's good to be back home. Enjoy!

Sophisticated Funk

Julian Yeo - Another Season

Size: 107,4 MB
Time: 43:04
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Lullaby Of Birdland (1:56)
02. How High The Moon (2:51)
03. The Summer Wind (3:02)
04. Between The Devil And The Deep Blue Sea (2:23)
05. I Can’t Give You Anything But Love (3:10)
06. A Fine Romance (3:20)
07. East Of The Sun (And West Of The Moon) (2:18)
08. All The Things You Are (2:22)
09. Makin’ Whoopee (3:16)
10. Polka Dots And Moonbeams (3:33)
11. Emily (2:31)
12. You’d Be So Nice To Come Home To (2:35)
13. Misty (4:02)
14. What Is This Thing Called Love (3:01)
15. S’wonderful (2:36)

Another Season, Another Reason to Record Another Album.

With each season's passing, I seem to gain a slightly different perspective and interpretation of the songs that I love to sing.

So, a few years after I released "You and the Night; Night and the Music", I went back to the recording studio. The first thing I did was to look into the vault of previously unreleased tracks that I had recorded with the band. These tracks were not included in my prior albums for various reasons, mostly because they did not fit in with the overall vibe. With the help of modern technology, I was able to re-record the vocals. With a tad more mature tone, some of these songs seem more convincing when I sing it at a later stage of my life.

I also couldn't wait to record new materials with a live band. So, I summoned guitarist Tony Romano (sometimes joined by bassist Haeng Seol) to lay down more tracks, adding songs that would round up the album with a more intimate introspective vibe, reimagining jazz standards from the 20s to 50s in a chill coffee shop. I sincerely hope you enjoy “Another Season”. ~Julian

Another Season

Sara Gazarek & Josh Nelson - Dream In The Blue

Size: 126,2 MB
Time: 53:43
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Blackbird - Bye Bye Blackbird (4:14)
02. O Pato (3:27)
03. Sunny Side Of The Street (4:13)
04. All Again (4:24)
05. I Can't Make You Love Me (4:16)
06. Mood Indigo (3:55)
07. No Moon At All (5:26)
08. Petit Papillon (3:58)
09. I Don't Love You Anymore (3:47)
10. Father Father (5:05)
11. Behind Me (4:28)
12. Cello Song - Without A Song (6:24)

The success of a story often hinges on the art of the telling. Listen to vocalist Sara Gazarek with pianist Josh Nelson and you immediately see that to be true. These two use ripples of inflection to elicit tidal waves of emotion, uncover new wrinkles in the oldest of thematic fabrics, paint scenes and/or inhabit characters so deeply and convincingly that they blur or erase the lines separating true self from role, and willingly reveal all that this world has to offer—blessings, drama, and slings and arrows included. On Dream In The Blue, Gazarek and Nelson alternately elicit tears of joy and sorrow by moving from escape to reality, heaven to earth, and mirth to melancholy, reaffirming their collective position as one of the most arresting voice-and-piano pairings out there in the process.

While their musical relationship is at the heart of all four of Gazarek's previous albums, it's never been highlighted to this degree before. Through duo work these two have discovered an even deeper bond than those formed over their many years of collaboration; it's a bond built on the mutual acceptance of art as a reflection of life.

There's certainly more darkness and woe here than usual for Gazarek and Nelson, but there's no lack of light. The triptych that introduces the album makes that clear. First up is their signature marriage of "Blackbird" and "Bye Bye Blackbird," a beautiful medley filled with hopefulness and reflection. A perky performance of "O Pato" follows. Gazarek moves effortlessly from Portuguese to English, shades of "Take The 'A' Train" materialize in the harmonic framework of the song, and effervescence rules the day. Then optimism continues to shine through with a version of "On The Sunny Side Of The Street" that finds Gazarek matching moves with Nelson on some daring, wordless, well-choreographed maneuvers.

Everything is looking up at this point in the album, but then the realization that nobody rides life's highs forever is swiftly set upon the listener. With "All Again," a radio-worthy Nelson original, a balance point is achieved between darkness and hope; a poignant and nuanced performance of the Bonnie Raitt-associated "I Can't Make You Love Me" tears the heart apart; and a highly personalized rendition of "Mood Indigo," harmonically tweaked and rooted to sixteenth notes, brings out the dark blue meaning in the title better than most.

The second half of the album is no less intriguing in its emotional and musical blend. The seductive "No Moon At All" swings and sings just as it should, demonstrating a straightforward approach that still offers a few surprises. An amalgamation of musical lightness and subject heaviness appears with "Petit Papillon," a Gazarek-Nelson work that uses the plight of a captured and damaged butterfly as an analogue for a woman snared in love, wounded by its daggers, and left in the dust. Then there's "I Don't Love You Anymore," a collaboration between these two and songwriter Cliff Goldmacher that's built around an emotional wallop of a post-breakup encounter. It comes softly but hits hard. This is the point where heartbreak is piled upon heartbreak.

The album then moves toward its conclusion with Laura Mvula's hymn-like "Father Father," Nelson's "Behind Me" (with new lyrics from Gazarek), and a medley of Nick Drake's "Cello Song" and "Without A Song." That last entry, bridging two distinctly different forms of popular music from different eras, conceptually complements the album's opening number and brings things to an ideal conclusion.

Convincingly selling this wide variety of material in such an intimate setting is no easy feat, but Sara Gazarek and Josh Nelson are uncommonly gifted communicators who have no problem getting these stories across in just the right way(s). Dream In The Blue is a testament to the strength of their relationship. It's an album that's likely to endure in hearts and minds. ~Dan Bilawsky

Personnel: Sara Gazarek: vocals; Josh Nelson: piano.

Dream In The Blue