Caribbean Jazz Project - Paraíso

Styles: Latin Jazz
Year: 2001
File: MP3@320K/s
Time: 69:09
Size: 163,3 MB
Art: Front

(9:11)  1. One Step Ahead
(7:10)  2. Naima
(7:03)  3. Maluco
(9:34)  4. Caravan
(7:24)  5. El Tacaño
(6:52)  6. Five For Elvin
(5:23)  7. Second Opinion
(6:10)  8. Jamboree
(6:23)  9. Cá-Ni-Mo!
(3:56) 10. Obaricoso / Ritmos, Colores, Y Sentidos

This is possibly the most intricate, intellectual, and compositionally advanced Latin jazz that's been made to date. Certainly the tri-leaders of the group - vibraphonist Dave Samuels, flautist Dave Valentin, and guitarist Steve Khan - are in the top echelon of performers on their respective instruments, and all have played in a unusually broad range of musical settings throughout their performing careers, and they bring all these resources to this release. The three principals contribute well-thought-out, technically advanced jazz solos - lovers of all flavors of jazz will find a lot to marvel at and digest here. They also call in a couple technical whizes for guest spots: trombonist Conrad Herwig on "Caravan" and "Naima" and Ray Vega on flugelhorn on "Naima." 

But there's another factor at work here behind the prodigious talent of the front line. The team of percussionists keep the proceedings solidly in the groove with equally intricate, constantly percolating congas and timbales. In fact, a drum set is used only occasionally. The players are so perfectly coordinated and interconnected, not just with each other, but with the requirements of the melodies or the soloists. There is no repetition, no "push Play and let it go" here at all. The rhythmic complexity is astonishing. And when they step forward for the occasional percussion break, it's breathtaking. The percussion on the finale, a medley of Mongo Santamaria's "Obaricoso and Richie Flores' "Ritmos, Colores, y Sentidos" is simply stunning. They're also recorded very well. If there is a fault to be found with this CD, it might be that it's almost too perfect. It's so intellectual, so polished, so studied and so intricate that it borders on losing the raw energy that so much Latin music has to offer. But overall, this CD is tremendously rewarding. It raises the bar on several levels: the compositions (most by Samuels or Khan) and arrangements, the depth of the solos, the state-of-the-art percussion. This is heavy stuff. It merits multiple listenings in order to focus on different instruments each time around. ~ Dave Hughes https://www.allaboutjazz.com/paraiso-dave-samuels-concord-music-group-review-by-dave-hughes.php

Personnel: Dave Samuels - vibes and marimba; Dave Valentin - flute; Steve Khan - guitar and guiro; Ruben Rodriguez- bass; Richie Flores - congas, shakere; Luisito Quintero - timbal kit, percussion; Dafnis Prieto - timbal kit, drums; Poncho Sanchez - congas; Conrad Herwig - trombone; Ray Vega - flugelhorn.

Paraíso

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Charles McPherson - Bebop Revisited

Styles: Saxophone Jazz 
Year: 1964
File: MP3@320K/s
Time: 46:10
Size: 107,2 MB
Art: Front

(7:45)  1. Hot House
(5:25)  2. Nostalgia
(6:58)  3. Variations On A Blues By Bird
(6:07)  4. Wail
(7:41)  5. Embraceable You
(5:53)  6. Si Si
(6:18)  7. If I Loved You (Bonus)

Bebop is the thing on this excellent outing as altoist Charles McPherson and pianist Barry Harris do their interpretations of Charlie Parker and Bud Powell. With trumpeter Carmell Jones, bassist Nelson Boyd and drummer Al "Tootie" Heath completing the quintet, the band romps through such bop classics as "Hot House," "Nostalgia," "Wail" and "Si Si" along with an original blues and "Embraceable You." A previously unissued "If I Love You" is added to the CD reissue. McPherson and Jones make for a potent frontline on these spirited performances, easily recommended to fans of straightahead jazz. ~ Scott Yanow http://www.allmusic.com/album/be-bop-revisited-mw0000276269

Personnel:  Charles McPherson - alto saxophone;  Carmell Jones – trumpet;  Barry Harris – piano;  Nelson Boyd – bass;  Albert Heath - drums

Bebop Revisited

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Chris Cheek - A Girl Named Joe

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 67:01
Size: 153,8 MB
Art: Front

(7:28)  1. Slide
(6:16)  2. September
(5:57)  3. Arctic Barbeque
(5:42)  4. Lowered
(7:37)  5. Late Green
(4:46)  6. Plant Dance
(6:28)  7. A Girl Named Joe
(7:15)  8. Then
(5:52)  9. Siege
(9:35) 10. Water Mile

Chris Cheek takes a bold step forward with this all-original date. With two tenors (Cheek and Mark Turner) and two drummers (Jordi Rossy and Dan Rieser), the instrumentation is somewhat unusual. Guitarist Ben Monder and bassist Marc Johnson complete the lineup. Johnson is an excellent choice, given the rock leanings of "Arctic Barbecue" and "Plant Dance," the dark folk elements of "Lowered," and even the country traces of the title track. 

With his own groups, Johnson has flirted with precisely this sort of eclecticism. Cheek's compositions, like Johnson's, are tuneful and surprising, full of moves you wouldn't expect from a jazz player. Perhaps it's his middle-American upbringing coming to the surface. On the jazzier side are Cheek's waltzes "September" and "Siege" and his closing 6/4 chart "Water Mile," which features probing solos from the two tenors. Monder's playing on every number is strong, as usual, not least on his own "Late Green," the album's most radical track and the only one not written by Cheek. ~ David R.Adler http://www.allmusic.com/album/a-girl-named-joe-mw0000046604

Personnel:  Chris Cheek, Mark Turner (tenor sax),  Ben Monder (guitar),  Marc Johnson (bass),  Jorge Rossy, Dan Rieser (drums).

A Girl Named Joe

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Keiko Matsui - A Drop of Water

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 44:19
Size: 102,4 MB
Art: Front

(6:19)  1. Ancient Wind
(4:49)  2. Light Above the Trees
(5:39)  3. Harbor Wind
(4:20)  4. Mediterranean Sand
(5:27)  5. A Drop of Water
(5:11)  6. From My Window
(3:07)  7. Only Way Home
(4:34)  8. Fairy
(4:50)  9. Paper Spirit

This auspicious introduction to the many aspects of the composer's skills finds her surrounded by a slew of L.A.'s top players, some of whom had yet to begin their own solo careers at this point: Grant Geissman, Brandon Fields, Robben Ford, Nathan East, Vinnie Colaiuta, and Jimmy Johnson. Matsui balances a mystic Eastern edge with a lighthearted new agey pop appeal. "Ancient Wind" and the Geissman co-composition "Mediterranean Sand" are the best cuts, building from pastoral ideas into an explosive ensemble hook. Matsui also showed her penchant for soulful vocal pieces, using Abu Khalil and Marva King to varying effectiveness. The emotional vocal title cut was inspired by Challenger astronaut Ron McNair. ~ Jonathan Widran http://www.allmusic.com/album/a-drop-of-water-mw0000192185

Personnel: Keiko Matsui (shakuhachi, piano, synthesizer); Carl Anderson (vocals, background vocals); Marva King, Maxi Anderson, Nathan East, Marlena Jeter, Molly Pasutti (vocals); Grant Geissman, Grant Geisman, Robben Ford (guitar); Suzie Kattayama, Suzie Katayama (cello); Kazu Matsui (shakuhachi); Brandon Fields (saxophone); Walt Fowler (flugelhorn); David Garfield (piano, synthesizer); Derek Nakamoto (synthesizer); Gregg Bissonette, Bernie Dresel, Vinnie Colaiuta (drums); Luis Conte, Michael Fisher (percussion).

A Drop of Water

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Joe Henderson - Big Band

Bitrate: MP3@320K/s
Time: 59:58
Size: 137.3 MB
Styles: Bop, Saxophone jazz
Year: 1996
Art: Front

[5:23] 1. Without A Song
[5:21] 2. Isotope
[9:00] 3. Inner Urge
[6:52] 4. Black Narcissus
[8:22] 5. A Shade Of Jade
[7:19] 6. Step Lightly
[5:49] 7. Serenity
[4:26] 8. Chelsea Bridge
[7:22] 9. Recorda Me

Alto Saxophone – Bob Porcelli, Pete Yellin, Steve Wilson; Alto Saxophone, Soprano Saxophone – Dick Oatts; Baritone Saxophone – Gary Smulyan, Joe Temperley; Bass – Christian McBride, Nilson Matta; Bass Trombone – Dave Taylor, Douglas Purviance; Drums – Al Foster, Joe Chambers, Lewis Nash, Paulo Braga; Piano – Chick Corea, Helio Alves, Ronnie Mathews; Tenor Saxophone – Charlie Pillow, Craig Handy, Rich Perry, Tim Ries; Trombone – Conrad Herwig, Jimmy Knepper, Keith O'Quinn, Kiane Zawadi, Larry Farrell, Robin Eubanks; Trumpet – Byron Stripling, Earl Gardner, Idrees Sulieman, Jimmy Owens, Marcus Belgrave, Michael Philip Mossman, Ray Vega, Tony Kadleck, Virgil Jones; Trumpet [Lead] – Jon Faddis, Lew Soloff; Trumpet [Soloist] – Freddie Hubbard, Nicholas Payton.

On this 1996 recording, improbably the first to ever feature him leading a big band, the inimitable Joe Henderson assembled nine compositions (seven of which were self-penned) and a topnotch band for a very interesting record. Volumes have been written about Henderson as a soloist but, on Big Band, even the longest-term Henderson fan gets to hear his prodigious skills as a big band arranger for the first time. Influenced by Bill Holman and Bill Russo as much as by classical composers Igor Stravinsky and Bela Bartok, his charts are cool and sophisticated. Of course, Henderson's cause is helped by the absolutely unquestioned majesty of the core material, as well as a fine batch of co-soloists, including Chick Corea, Christian McBride, and Freddie Hubbard. The Slide Hampton-arranged "Isotope" is one of the finest moments on the record, with an almost amusingly dramatic introduction that evokes a film noir score before it accelerates into the famous theme. Corea's solo is absolutely masterful, a headlong rush into nothingness that somehow manages to land on its feet. When laid side by side, his solos often outstrip the leader's in their inventiveness and capability to draw the listener into the song. This is not, however, to downplay the contributions of the leader as a soloist; Henderson's tenor is as lovely as ever. Fantastic solos notwithstanding, it is the wonderful arrangements of these deservedly classic songs that make this album so valuable. Listen to the Robin Eubanks-led trombone section in "A Shade of Jade" for a quick taste of what it sounds like when everything about a big band comes together just so. There is not a lot to dislike about Joe Henderson's first recorded foray into big-band arranging. Recommended. ~Daniel Gioffre

Big Band

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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

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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

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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!

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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

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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

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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

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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

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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

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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)

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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

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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

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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

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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

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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

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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

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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

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