Joe Locke / Geoffrey Keezer Group - Signing

Styles: Vibraphone And Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 55:20
Size: 127,5 MB
Art: Front

(7:55)  1. Signing
(6:58)  2. The Lost Lenore
(6:40)  3. Darth Alexis
(7:52)  4. Naima
(5:53)  5. Hide and Seek
(8:25)  6. Her Sanctuary
(6:57)  7. Terraces
(4:37)  8. This Is Just to Say

Signing is only the second release from the co-led Joe Locke / Geoffrey Keezer Group, but both men have traveled plenty of musical miles together, both on record and on stage. They've worked in trio with reed man Tim Garland under the Storms/Nocturnes moniker, produced compelling music for the Japanese marketplace using the New Sound Quartet name and filled venues across the globe to capacity when they take the bandstand together. While six years separate their debut Live In Seattle (Origin, 2006) and this follow-up, they've maintained their musical connection in the interim and their bond has only deepened with time. The music that Locke and Keezer create can be alternately potent and powerful or peaceful and poetic, but it's never less than enthralling. The program contains four Locke originals, two Keezer-penned pieces and a pair of covers that come from vastly different sources saxophonist John Coltrane and the hard-to-define singer/songwriter/musical mutt Imogen Heap. While this group has a signature aural fingerprint that comes through on nearly every track, they don't tread on the same stylistic ground from piece to piece. The title track is a drum 'n' bass-driven journey that has a rave-meets-meets jazz mentality, "Hide And Seek" is a faithful, pop-leaning instrumental facsimile of Heap's work, "Her Sanctuary" is a cascading ride of wonder and ""Darth Alexis" has an occasionally sinister quality and demonstrates the precision of this music. The album contains plenty of first-take recordings, but the performances never betray that fact.

While Locke and Keezer are responsible for shaping the band, the rhythm section deserves credit for bringing a futuristic bent into their sound. Drummer Terreon Gully and bassist Mike Pope push boundaries and bring something distinctly modern to the mix. Pope's electric bass work can serve as a grounding force, melodic instrument, textural element or impressive solo voice ("Terraces"), while Gully is a powerful rhythmic visionary who stokes the flames of this music at every turn ("Signing"). When they mix with Locke and Keezer, the resultant music projects an anything-is-possible policy. 

This music can be explosive, earthy, driven, touching or terrifying, but, most importantly, it's always unpredictable. Signing marks Locke's arrival on the Motéma label, where he has two more projects slated for release in the coming year-and-a-half, and it stands as a testament to the ever-growing connection between the vibraphonist and his piano playing partner-in-crime. ~  Dan Bilawsky https://www.allaboutjazz.com/signing-joe-locke-geoffrey-keezer-group-motema-music-review-by-dan-bilawsky.php
 

Personnel: Joe Locke: vibraphone; Geoffrey Keezer: piano, rhodes, omnisphere; Terreon Gully: drums; Mike Pope: electric bass, acoustic bass.

Signing

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Stevie Holland - Restless Willow

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 39:36
Size: 91,2 MB
Art: Front

(2:31)  1. It Might As Well Be Spring
(3:53)  2. Love Is Strong Far Than We
(3:03)  3. Summertime
(4:16)  4. How Long Has This Been Going On?
(3:43)  5. One Touch
(2:57)  6. Sunny Skies
(4:38)  7. Lush Life
(3:20)  8. Jeg Elsker Dig
(3:31)  9. Here's That Rainy Day
(2:48) 10. Zoot Walks In
(4:51) 11. Stardust

Stevie Holland has a beautiful and flexible voice. Her CD constantly varies the personnel (sometimes featuring pianist George Small and at other times guitarist Sean Harkness) and covers a few different styles. The music includes standards at a variety of tempos, some songs that sound close to show tunes, and heartfelt ballads. There are also guest appearances (one apiece) by Rubén Flores (who sings a duet with Holland on "One Touch"), flutist Joe Mennonna, and tenor saxophonist David "Fathead" Newman (who swings on "Zoot Walks In"). Among the most memorable selections are a happy interpretation of "It Might As Well Be Spring," an uptempo "Summertime," and a wonderful version of "Stardust" in which Holland's voice is backed by just Harkness' guitar. All in all, this is an impressive effort. ~ Scott Yanow http://www.allmusic.com/album/restless-willow-mw0000633409

Personnel: Stevie Holland (vocals); Joe Mennonna (flute); David "Fathead" Newman (saxophone, tenor saxophone); George Small (piano); Sean Harkness (guitar); Kenny Washington (drums); Steve Kroon (percussion).

Restless Willow

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Stu Williamson - Stu Williamson Plays

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 59:16
Size: 136,2 MB
Art: Front

(4:16)  1. The Lady Is a Tramp
(5:41)  2. Stu's Due Blues
(2:52)  3. The Things We Did Last Summer
(3:52)  4. Yardbird Suite
(2:39)  5. Autumn in New York
(4:26)  6. Just Friends
(3:30)  7. Pee Jay
(3:50)  8. Darn That Dream
(6:11)  9. Hongry Child
(4:31) 10. Big Red
(5:07) 11. Red Cross
(3:21) 12. Talk of the Town
(3:59) 13. Oom's Tune
(4:56) 14. Rose Bud

Stu Williamson led relatively few sessions in his career and over half of them are on this excellent Fresh Sound CD. The cool-toned trumpeter is mostly heard in a quintet with altoist Charlie Mariano, pianist Claude Williamson (his brother), either Max Bennett or Leroy Vinnegar on bass, and Stan Levey or Mel Lewis on drums. The remaining four songs (all Bill Holman compositions) feature a sextet with Holman on tenor, baritonist Jimmy Giuffre, Claude, Vinnegar, and Lewis. The music swings lightly but firmly with excellent solos from all concerned, making this CD a prime example of West Coast jazz from the 1950s. Recommended. ~ Scott Yanow http://www.allmusic.com/album/stu-williamson-plays-mw0000875069

Personnel: Stu Williamson (Trumpet) , Charlie Mariano (Saxophone),  Claude Williamson (Piano), Max Bennett (Bass), Stan Levey (Drums).

Stu Williamson Plays

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Joe Lovano Quartet - Classic! Live At Newport

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 57:49
Size: 133,0 MB
Art: Front

( 7:11)  1. Big Ben
(11:05)  2. Bird's Eye View
(10:23)  3. Don't Ever Leave Me
( 9:55)  4. I'm All For You
( 8:09)  5. Kids Are Pretty People
(11:04)  6. Six And Four

It's safe to say that many years from now, when the critics and historians have the benefit of distance to help focus their thoughts, many if not most will continue to hail much of saxophonist Joe Lovano's presently-admired body of work on the Blue Note imprint. But what will stand tallest in said discography? Some may continue to laud the bold, rhythmically charged work of his Us Five quintet; others may celebrate his fascinating Trio Fascination outings; and a different faction may extol the virtues of his commanding quartet dates recorded at the hallowed Village Vanguard. There's no shortage of good options in a portfolio that contains more than two dozen offerings and spans more than a quarter century. For this writer, it will always be the recordings that Lovano created with pianist Hank Jones amaranthine beauties that never seem to lose their luster. I'm All For You (Blue Note, 2004) and Joyous Encounter (Blue Note, 2005) incredibly engaging quartet dates with bassist George Mraz and drummer Paul Motian rounding out the lineup came first, and in quick succession; the pair's lone duo date Kids: Live at Dizzy's Club Coca- Cola (Blue Note, 2007) came a little later. Jones passed away a few years after that third record arrived in 2010, at the ripe young age of ninety-one and Lovano moved on to other musical realms, seemingly closing that incredibly fruitful chapter of his artistic life. But now the story comes alive again with the release of this set that was captured live at the Newport Jazz Festival in 2005.

After recording Joyous Encounter in May of that year, Lovano toured Europe with the quartet from the album, with model-of-class drummer Lewis Nash replacing Motian. That band coalesced into a communicative marvel, a fact that's clear as day here as those four musicians put forth integration and integrity as their collective calling cards. Subtle and artful shifts from flowering ballad territory to solid state swing help to elevate Lovano's "I'm All For You"; bluesy, raucous, cool, and gritty sounds mix perfectly together to make for an easy sell of Oliver Nelson's swinging "Six And Four"; and empathy knows no bounds on the Brazilian-inflected "Don't Ever Leave Me." Oh, to have been in the audience on that summer day. While the magic exhibited here is of a similar sort to what can be heard on the aforementioned quartet recordings, it's obviously not the same. And it should come as no surprise that the change in the drum chair is what altered the chemistry of the group. Motian was a master of percussive shading, allowing airiness into an instrumental realm that it rarely entered, and Nash typically prefers things on the taut and tidier side. The mind was pulled deep into a dream when Motian joined forces with Lovano, Jones, and Mraz, but hearing Nash with the same three is another experience entirely. He pulls the whole body of the listener into the music. If your foot isn't tapping, your body isn't moving, and your head isn't bobbing along in the affirmative during "Kids Are Pretty People," you may be suffering from some form of paralysis. Nash once released an album called Rhythm Is My Business (Evidence, 1993), and he wasn't kidding. Bestowing an album with the "classic" designation upon its release may seem a bit presumptuous, but this appears to be one of those if-the-shoe-fits cases that says otherwise. A classic, by its own definition, is something "of the first or highest quality, class, or rank," and this surely fits the bill. ~ Dan Bilawsky https://www.allaboutjazz.com/classic-live-at-newport-joe-lovano-blue-note-records-review-by-dan-bilawsky.php

Personnel: Joe Lovano: tenor saxophone; Hank Jones: piano; George Mraz: bass; Lewis Nash: drums.

Classic! Live At Newport

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Hal McKusick Octet - In A Twentieth-Century Drawing Room

Styles: Clarinet And Saxophone Jazz
Year: 1955
File: MP3@320K/s
Time: 36:44
Size: 85,6 MB
Art: Front

(4:30)  1. My Inspitarion
(2:46)  2. Gift Of The Magi
(3:09)  3. You're A Lucky Guy
(2:35)  4. Can't We Be Friends
(2:33)  5. Step Lively Osie
(3:28)  6. Minor Seventh Heaven
(3:15)  7. Theme
(5:12)  8. Alto Stratus
(3:15)  9. How Long Has This Been Going On
(3:12) 10. Brother Jack
(2:44) 11. Immortal

A fine cool-toned altoist and an occasional clarinetist, Hal McKusick worked with the big bands of Les Brown, Woody Herman (1943), Boyd Raeburn (1944-1945), Alvino Rey (1946), Buddy Rich, and Claude Thornhill (1948-1949). In the 1950s, in addition to his work with Terry Gibbs and Elliot Lawrence, he was a busy and versatile studio musician. During 1955-1958, McKusick recorded nine albums of material as a leader for Jubilee, Bethlehem, Victor, Coral, New Jazz, Prestige, and Decca. Those small-group recordings, although basically cool bop, sometimes used very advanced arrangements, including charts by George Handy, Manny Albam, Gil Evans, Al Cohn, Jimmy Giuffre, and particularly George Russell. Hal McKusick died in April 2012 at the age of 87. ~ Scott Yanow http://www.allmusic.com/artist/hal-mckusick-mn0000660389/biography

Personnel:  Alto Saxophone, Clarinet – Hal McKusick;  Bass – Milt Hinton;  Cello – Abram Borodkin,  Bernard Greenhouse, Harvey Shapiro, Lucien Schmit, Milton Prinz, Sidney Edwards; Drums – Osie Johnson, Sol Gubin;  Guitar – Barry Galbraith

In A Twentieth-Century Drawing Room

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Branford Marsalis Quartet - Braggtown

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 74:09
Size: 170,0 MB
Art: Front

(14:12)  1. Jack Baker
(11:02)  2. Hope
( 8:24)  3. Fate
(12:39)  4. Blakzilla
( 7:48)  5. O Solitude
( 5:45)  6. Sir Roderick, The Aloof
(14:17)  7. Black Elk Speaks

"Damn the torpedoes, full speed ahead! could be one of the underlying messages of Braggtown. While other jazz groups are experimenting with a variety of artistic freedoms, including odd instruments, spoken word, hip-hop and electronica, Branford Marsalis and his quartet are staunch on the path of hard bopping, straight-ahead acoustic music. The music is in fact a continuation of their past three recordings on the Marsalis Music label Eternal (2004), Romare Bearden Revealed (2003) and Footsteps of Our Fathers (2002) which are cognizant of the heritage of jazz, yet always press forward. Whether you think jazz should be modernized or canonized, when it all said and done, this release documents a quartet at its peak, delivering its strongest recording to date. While there's nothing new stylistically here, Braggtown offers fresh compositions from each member of the quartet, showcasing their collective bond through unique interpretations. The music as a whole is a reflection of the quartet's past and present. On Marsalis' incendiary "Jack Baker, his tenor saxophone wails, sings and digs deep within the pocket while the quartet delivers a relentless performance that would make Coltrane smile.

"Hope is another beautiful ballad penned by Joey Calderazzo, exhibiting contrasting sounds of individual isolation and group unity. The pianist plays quietly with deep emotion, then builds to a feverish pitch accompanying Marsalis' blistering soprano crescendo. "Blackzilla, penned by Jeff "Tain Watts, could be the echoes of Harlem's past or urban streets today, complete with meticulous timing, extended solos and Watts' explosive drum work. Marsalis has always had an interest in classical music, as evidenced on Creation (Sony, 1999), and here he pulls out an obscure gem, "O Solitude, by the 17th Century composer Henry Purcell. Proving that all music can exhibit a "groove, Revis' persistent bass pattern threads the austere melody as the piano and soprano sax articulate soulful and moving solos. With the same chamber-esque essence comes the colorful "Sir Roderick, the Aloof, penned by Marsalis, revealing his penchant for both structure and creativity. The recording closes with the smoking gun of "Black Elk Speaks, written by Revis. This complex piece stirs hard swing and free jazz dialects, and each musician throws his instrument wildly and skillfully onto the canvas. Revis delivers a memorable bass solo spotted with outrageous vocalizations and superb fret work. This level of high musicianship exemplifies Braggtown, which should once again put the quartet on the year's best list. ~ Mark F.Turner https://www.allaboutjazz.com/braggtown-branford-marsalis-marsalis-music-review-by-mark-f-turner.php
 

Personnel: Branford Marsalis: saxophones; Joey Calderazzo: piano; Eric Revis: bass; Jeff "Tain" Watts: drums.

Braggtown

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Jenny Evans - Lunar Tunes

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 56:23
Size: 154,8 MB
Art: Front

(5:13)  1. On The Moon
(4:53)  2. Sister Moon
(7:03)  3. Moonlight Serenade
(4:26)  4. The Moon and Stars
(4:10)  5. Moonlight in Vermont
(4:31)  6. Hymn to Selene
(4:27)  7. Silly boy, 'tis full moon
(4:29)  8. Old Devil Moon
(4:12)  9. Moonlight on the Ganges
(4:57) 10. Song to the Moon
(5:02) 11. Moon River
(2:56) 12. It's Only A Paper Moon

„On her new CD Lunar Tunes jazz vocalist, Jenny Evans, sings us songs about the moon. In her own inimitable, jazzy style the English singer crosses over epoches and genres: from Glen Miller to Dvorak, von Erik Satie to Sting, from the Barock to the Orient. For this CD she has invited very special guests: the string quartet "Ensemble Laurier" and the Brazilian flute and saxophone player, Márcio Tubino.“http://www.jenny-evans.de/index.php?p=discography&ln=en

Personnel:  Walter Lang (p);  Thomas Stabenow (b);  Rudi Martini (dr);  Márcio Tubino (ts, fl);  Ensemble Laurier (string quartet)

Lunar Tunes

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Joe Locke - Inner Space

Styles: Vibraphone Jazz
Year: 1996
File: MP3@224K/s
Time: 61:20
Size: 98,4 MB
Art: Front

(8:01)  1. Django
(8:55)  2. Tripping
(9:49)  3. Fly Me to the Moon
(6:34)  4. Sanibel Island
(7:38)  5. Skylark
(7:11)  6. Truce
(4:46)  7. Quiet Now
(8:22)  8. Inner Space

While recording a series of dates for Steeplechase, vibraphonist Joe Locke was never predictable or in the least bit complacent, frequently changing personnel for each date and never falling into a rut in choosing material. His quartet on this 1995 session includes pianist Mark Soskin, bassist Harvie Swartz, and drummer Tim Horner; the music is wide-ranging, concentrating heavily on modern jazz repertoire. Standards include a lovely waltzing "Fly Me to the Moon" and a slow, exquisite arrangement of "Skylark." It might seem dangerous to tackle a piece such as John Lewis' "Django" with the identical instrumentation of the best-known version recorded by the composer during his years leading Modern Jazz Quartet, but it is also the sign of a musician who is confident not only in his own abilities but those of his accompanists; although this arrangement is not drastically different from the classic 1955 recording by the MJQ, the excellent individual solos and Swartz's superb arco bass make it noteworthy in its own right. 

A spacious approach to Denny Zeitlin's "Quiet Now" features Locke and Soskin as a duo. Among more recent works are Swartz's "Truce," which begins with an intense bass solo before evolving into a driving post-bop chart. Frank Kimbrough's introspective "Sanibel Island" seems to inspire some of the best solos of the date. This is one of a number of highly recommended CDs recorded by Locke during the 1990s. ~ Ken Dryden http://www.allmusic.com/album/inner-space-mw0000613490

Personnel: Joe Locke (vibraphone); Mark Soskin (piano); Harvie Swartz (bass); Tim Horner (drums).

Inner Space

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Kenny Drew - By Request II

Styles: Bop, Piano Jazz

Year: 1985

File: MP3@320K/s

Time: 45:24

Size: 104,2 MB

Art: Front

(6:52)  1. Alone Together

(4:56)  2. Yesterdays

(3:31)  3. Bye Bye Blackbird

(3:56)  4. Night in Tunisia

(5:05)  5. Autumn in New York

(3:53)  6. Georgia on My Mind

(4:40)  7. Waltz for Debby

(4:16)  8. Whisper Not

(4:17)  9. Over the Rainbow

(3:52) 10. I'll Remember April

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death. ~ Scott Yanow http://www.allmusic.com/artist/kenny-drew-mn0000081841/biography

Personnel:  Kenny Drew – piano;  Niels Pedersen – bass;  Ed Thigpen - drums

By Request II

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Roy Eldridge - Happy Time

Styles: Vocal And Trumpet Jazz
Year: 1975
File: MP3@320K/s
Time: 48:36
Size: 111,8 MB
Art: Front

(4:20)  1. Sweethearts On Parade
(7:02)  2. Willow Weep For Me
(4:43)  3. Makin' Whoopee
(3:33)  4. Gee Baby Ain't I Good To You
(4:45)  5. All Of Me
(4:10)  6. I Want A Little Girl
(6:55)  7. On The Sunny Side Of The Street
(4:43)  8. I Can't Get Started
(5:18)  9. Stormy Monday
(3:04) 10. Let Me Off Uptown

Roy Eldridge actually spends as much time singing as playing during the ten standards here, but the solos he takes (although concise) have their explosive moments. With pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Eddie Locke providing the support, the music always swings in an exuberant fashion. This CD reissue, although not essential, is worth acquiring. ~ Scott Yanow http://www.allmusic.com/album/happy-time-mw0000674713

Personnel: Roy Eldridge (vocals, trumpet); Oscar Peterson (piano); Joe Pass (guitar); Ray Brown (bass); Eddie Locke (drums).

Happy Time

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Bill Evans - Conversations with Myself

Styles: Piano Jazz
Year: 1963
File: MP3@320K/s
Time: 43:58
Size: 100,9 MB
Art: Front

(6:33)  1. 'Round Midnight
(2:50)  2. How About You?
(5:11)  3. Spartacus Love Theme
(4:34)  4. Blue Monk
(4:54)  5. Stella by Starlight
(4:30)  6. Hey, There
(5:35)  7. N.Y.C.'s No Lark
(2:37)  8. Just You, Just Me
(2:58)  9. Bemsha Swing
(4:12) 10. A Sleepin' Bee

Technology and art have always had a tumultuous relationship at best. Advancements in technology have often been greeted by the artistic community by a split response: Some embrace the new technology and experiment with it, reaching out for new forms of expression that were impossible before; others shun the advances, dismissing them and those that use them as poor synthetic substitutions for "real" artistic struggle and creativity. Today, a great deal of this controversy centers around the use of computers in both the visual and audio arts. Sampling, digital replication, and plagiarism are all issues debated regularly. However, in 1963, the topic of debate was overdubbing, a practice that we regularly take for granted today. And at the center of the debate about this "new" technology was Bill Evans.

Universally considered as one of the top jazz pianists in history today, in 1963 Bill Evans was yet to experience huge commercial success. Drugs, non-focused career management, and bad luck had all conspired to place Bill Evans on tenuous ground, career wise, in 1963. An idea, however, the an album of Bill Evans playing with Bill Evans was hatched, and Evans was game. The rest, as they say, is history....or rather the album Conversations With Myself. Conversations With Myself was a major undertaking, and perhaps, an even greater risk. 

Overdubbing was sneered at by most jazz people, looked at as "gimmicky" and "synthetic". But Evans, one of the most lyrical musicians the jazz world has ever known, was intrigued with taking the "conversational" approach his trio had been practicing to the next logical level. If three musicians could practice and play together long enough to be able to carry on musical conversations during a song, then wouldn't the musical ideas expressed and explored by multiple tracks of the same musician be even closer to an "idealized" perfection? In 1963, the answer was unclear. In 1997 though, the answer is clear, and Conversations With Myself 's inclusion in Verve Master Edition set exemplifies the positive response.Garnering a 5 star review from Downbeat in 1963, and a Grammy, Conversations With Myself was an instant classic for the jazz community. Evans work on the ten tunes included here is truly inspired and amazing to behold. In each song, it is as if three distinctive "sides" or "personalities" of Bill Evans are playing together...each keenly aware of what the others are doing, and perhaps more importantly, will do. Evans' amazing musical comprehension is given center stage while running through classic jazz sides like "'Round Midnight," "Stella By Starlight" and "Just You, Just Me." "Blue Monk" showcases a muscularity to Evans' playing that he rarely displayed, while the "Love Theme From Spartacus" showcases Evans' signature use of space, time and inference.

Overall, this album is rather unique for Evans. Known as one of jazz's "prettiest" pianists, the extensive use of overdubbing here adds so much substance to these tracks that it is somewhat difficult for the uninitiated to keep up with everything that is going on. For the fan of Evans though, this glimpse of the artist at a heightened level of expression is very rewarding indeed. However, for the casual fan, I would not suggest this disc. The musical vocabulary is complex enough that the simple beauty of the songs, and Evans playing, is at times lost. Better to start with some of Evans' Riverside albums, or any of Verve's trio albums first, allowing the listener to "build up" a sense of Evans and his ideas...then come back to this album. And prepare to be impressed. ~ AAJ Staff https://www.allaboutjazz.com/conversations-with-myself-bill-evans-verve-music-group-review-by-aaj-staff.php

Personnel: Bill Evans - Piano.

Conversations with Myself

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Shorty Rogers & His Giants - Bossa Nova

Styles: Trumpet Jazz 
Year: 1962
File: MP3@320K/s
Time: 32:36
Size: 76,1 MB
Art: Front

(2:07)  1. Samba Do Lorinho
(2:17)  2. Chega De Saudade
(2:55)  3. Samba Triste
(2:55)  4. Samba De Uma Nota Só (One Note Samba)
(5:03)  5. Pão De Açucar (Sugar Loaf)
(4:05)  6. Samba Do Empashgi (Empashgi's Samba)
(3:04)  7. O Amore E A Rosa (Love Is A Rose)
(2:31)  8. Só Você (Only You)
(3:23)  9. Chora Tua Tristeza (Cry Your Sadness)
(1:48) 10. Só Um Amor (Only One Love)
(2:24) 11. O Menino Desce Do Morro (Little Brown Boy)

A fine middle-register trumpeter whose style seemed to practically define "cool jazz," Shorty Rogers was actually more significant for his arranging, both in jazz and in the movie studios. After gaining early experience with Will Bradley and Red Norvo and serving in the military, Rogers rose to fame as a member of Woody Herman's First and Second Herds (1945-1946 and 1947-1949), and somehow he managed to bring some swing to the Stan Kenton Innovations Orchestra (1950-1951), clearly enjoying writing for the stratospheric flights of Maynard Ferguson. After that association ran its course, Rogers settled in Los Angeles where he led his Giants (which ranged from a quintet to a nonet and a big band) on a series of rewarding West Coast jazz-styled recordings and wrote for the studios, helping greatly to bring jazz into the movies; his scores for The Wild One and The Man With the Golden Arm are particularly memorable. After 1962, Rogers stuck almost exclusively to writing for television and films, but in 1982 he began a comeback in jazz. Rogers reorganized and headed the Lighthouse All-Stars and, although his own playing was not quite as strong as previously, he remained a welcome presence both in clubs and recordings. ~ Scott Yanow http://www.allmusic.com/artist/shorty-rogers-mn0000028646/biography

Personnel: Shorty Rogers - trumpet and his Giants.

Bossa Nova

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Steve Turre - Right There

Styles: Trombone And flute Jazz
Year: 1991
File: MP3@320K/s
Time: 57:47
Size: 132,6 MB
Art: Front

(6:46)  1. Ginseng People
(8:12)  2. Woody & Bu
(6:03)  3. Unfinished Rooms
(4:19)  4. Echoes of Harlem
(8:53)  5. Right There
(7:41)  6. Duke's Mountain
(7:58)  7. Sanya's
(7:53)  8. Descarga De Turre

Right There is primarily a straight-ahead set featuring Steve Turre on trombone and shells in a sextet with violinist John Blake, cellist Akua Dixon Turre, pianist Benny Green, bassist Buster Williams, and drummer Billy Higgins. Wynton Marslis pops up on two of the seven selections, and tenor saxophonist Benny Golson is on one. Highlights include "Woody & Bu," Duke Ellington's "Echoes of Harlem," "Duke's Mountain," and "Descarga De Turre," which has the leader at the helm of a Latin band that includes flutist Dave Valentin and several percussionists. Excellent and spirited music. ~ Scott Yanow http://www.allmusic.com/album/right-there-mw0000265786

Personnel includes: Steve Turre (trombone, flute, conch shells); Herman Olivera (vocals, clave, guiro); Dave Valentin (flute); John Blake (violin); Akua Dixon Turre (cello, vocals); Benny Green, Willie Rodriguez (piano); Buster Williams, Andy Gonzalez (bass); Manny Oqendo (timbales, guiro); George Delgado (congas); Billy Higgins (drums).

Right There

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Kenny Drew - By Request

Styles: Piano Jazz

Year: 1985

File: MP3@320K/s

Time: 49:02

Size: 112,6 MB

Art: Front

(5:35)  1. Softly, as in a Morning Sunrise

(5:01)  2. Misty

(3:57)  3. On Green Dolphin Street

(4:55)  4. Smoke Gets in Your Eyes

(3:59)  5. You'd Be So Nice to Come Home To

(6:53)  6. My Funny Valentine

(5:10)  7. Lover Come Back to Me

(3:45)  8. As Time Goes By

(5:46)  9. Fly Me to the Moon (In Other Words)

(3:58) 10. 'Round Midnight

Kenny Drew was born in New York City in August of 1928. At the age of 5, he began studying classical piano with a private teacher and at 8, gave a recital. This early background is similar to that of Bud Powell, the man who later became his main inspiration as a jazz pianist. After digging Fats Waller, at 12, and then Art Tatum and Teddy Wilson, Drew attended the High School of Music and Art. He was known as a hot boogie woogie player but passed through this phase before graduation. Kenny's first professional job was as accompanist at Pearl Primus' dance school. At the same time, he was alternating with Walter Bishop Jr. in a neighborhood band that included Sonny Rollins, Jackie McLean and Art Taylor. In this period, he used to hang-out on 52nd Street to listen to Charlie Parker and Powell and began sitting in at various jam sessions around town. In January of 1950, Drew made his first appearance on record, with Blue Note. Howard McGhee was the leader and the other featured soloists were Brew Moore and J.J. Johnson. One of the six sides released was “I'll Remember April.” The label, in addition to stating “Howard McGhee's All Stars”, further read, “Introducing Kenny Drew.”

Later, in 1953, Kenny made his first album as a leader. Again it was Blue Note who recorded him, this time in a trio with Curly Russell and Art Blakey. But Kenny opted to settle in Los Angeles for the next few years. There in 1955, he formed a quartet with the late Joe Maini, Leroy Vinnegar and Lawrence Marable. The quartet first recorded together in 1955 for Pacific Jazz. In December, Jazz West, a subsidiary of Aladdin Records, brought the quartet as is into Capitol's recording studios for “Talkin' & Walkin'.” In February of '56, Kenny's band and arrangements were used for another Jazz West release, this one by vocalist Jane Fielding. A month later, Drew, Paul Chambers, John Coltrane and Philly Joe Jones made the great “Chambers' Music” for the same label, which is now reissued on Blue Note. In early 1957 Kenny made his way back to New York as accompanist for Dinah Washington. That September, he participated in John Coltrane's monumental masterpiece “Blue Train,” but his association with Blue Note did not heat up again until 1960 when he made his own “Undercurrent” as well as Jackie McLean's “Bluesnik,” and “Jackie's Bag,” Kenny Dorham's “Whistle Stop,” Dexter Godon's “Dexter Calling,” Grant Green's “Sunday Mornin'” and a couple of Tina Brooks dates all within the space of a year.

Although Kenny was active on the recording and club scenes in New York and even subbed for Freddie Redd for a while in the successful Off-Broadway run of The Connection, he eventually chose to migrate to Europe. But he again popped up on a classic Blue Note date, Dexter Godon's “One Flight Up,” done in Paris in 1964. Kenny became a major star in Europe and Japan although his music was sadly neglected at home. He settled in Copenhagen where he ran a publishing company and was the house pianist at the Café Montmartre. He was also the pianist for the Steeplechase label, where he was on countless sessions backing visiting musicians. He left an impressive legacy of recordings both as sideman and leader. Kenny Drew died on Aug. 4, 1993. https://musicians.allaboutjazz.com/kennydrewsr

By Request

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Dina Blade - Bossa Amazônica

Styles: Brazilian Jazz, Bossa Nova
Year: 2016
File: MP3@320K/s
Time: 41:56
Size: 97,2 MB
Art: Front

(2:33)  1. Só Danço Samba
(4:05)  2. Garota de Ipanema
(4:09)  3. Não Foi Amor
(3:24)  4. Ilu Ayê
(4:37)  5. Corcovado
(4:00)  6. Pra Que Discutir Com Madame
(5:28)  7. Carinhoso
(2:15)  8. O Pato
(3:28)  9. Rosa Morena
(5:13) 10. Ave Maria no Morro
(2:39) 11. Adeus Acre Querido

Here is a review from the August 2016 issue of Earshot Jazz Magazine. (Note: the adjective "ataractic" means state of serene calmness). "Summer is finally upon us, and Dina Blade has given listeners a soundtrack to which they can enjoy the warmer months. As listeners journey through the ataractic tracks, a few surprises pop up along the way - one of which is a sensational cover of "The Girl From Ipanema." The album showcases a large group of talented musicians consisting of Dario Quintana on drums, Sandoval França on soprano and tenor sax, Pedro Cruz on violin, André Dantas on a medley of instruments, Alexandre Anselmo on batería and jeff Busch on cuica. At the forefront of the listening experience are Blade's controlled and powerful vocals. Smoother subgenres of jazz can at times be difficult to capture dynamically, yet Blade pulls this off flawlessly. Blade, who is no stranger to the culture of South America, sports a palpable understanding and a creative approach to bossa nova. The captivating soundscapes created by the ensemble seem to lull listeners into entrancement. But, as soon as you find yourself drifting away, Blade's voice guides you back in. Grab yourself a smooth cocktail, set up some speakers outside, and dive into the enticing tones of Dina Blade's "Bossa Amazonica"." ~CC

My fascination with Brazilian bossa nova began the moment I heard singer/guitarist João Gilberto playing “Só Danço Samba” (“I Only Dance Samba”). I was enthralled with the combination of the alluring rhythm and marvelous melody that made me feel calm but definitely alive. I was also amazed to hear so much music coming out of just one person! By mid-song I was smitten and vowed right then to begin learning the rhythms of bossa nova guitar and Brazilian Portuguese. So began my journey. First I travelled to Salvador, the country’s original capital in the northeastern state of Bahia, where drum schools prevail and African rhythms permeate every genre of local music. Five years passed before I returned to Brazil, this time to Rio de Janeiro, and in that marvelous city at a rooftop party overlooking Ipanema beach, I discovered how much Brazilians love to sing and was thrilled to accompany them on my guitar. Everyone joined in enthusiastically and I received several delicious caipirinhas for my efforts. Soon after, on a side trip to Campinas near São Paulo, I was invited to give a concert of American jazz and bossa nova with an excellent local quartet, and performed some tap dancing, trading rhythms with the drummer! Another high point. In recent years I have visited the Amazonian city of Rio Branco, where this CD project was recorded, and have had many incredible experiences playing with musicians in that beautiful place in the Amazon forest, communicating through our common language of music: jazz, folk, bossa nova and samba. The people of Rio Branco are extremely kind, generous, and warmly accepting of me, the “cantora americana,” for which I am grateful. This project is dedicated to them, my wonderful friends in Acre state. Thank you all for the inspiration and unforgettable memories. You have made my life richer and I will keep you in my heart forever. https://www.cdbaby.com/cd/dinablade6

Bossa Amazônica

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Steve Turre - Woody's Delight

Styles: Trombone Jazz
Year: 2012
File: MP3@320K/s
Time: 67:29
Size: 155,0 MB
Art: Front

( 6:45)  1. Woody's Delight
( 7:07)  2. Something For Sweets
( 8:01)  3. In Retrospect
( 4:06)  4. Luna
( 6:25)  5. Annette's For Sure
( 8:37)  6. Adios Mi Amigo
( 7:20)  7. Manny's Mambo
( 8:16)  8. 3 For Woody
(10:47)  9. Brother Bob

Trombonist and master of musical shells Steve Turre has been playing professionally since he was 13, working with a variety of bandleaders including Rahsaan Roland Kirk, Ray Charles, and Chico Hamilton, although he credits his musical maturity to his eight-year tenure with trumpeter Woody Shaw (which began when he was in his thirties). Turre recorded 14 albums with Shaw and it is to Shaw's influence and memory that the album's title refers. Turre wrote eight of the nine compositions here. The wildly diverse program includes five trumpeters Claudio Roditi, Jon Faddis, Wallace Roney, Chocolate Armenteros, and Freddie Hendrix three keyboard players, four bass players (including Buster Williams), two drummers, and three bongo, timbales, and conga percussionists. Faddis' fiery acrobatics are heard on the title track a skittering, jaunty blues in G-minor and on "Something for Sweets" (for Harry "Sweets" Edison), a strolling Basie-esque blues where both Faddis and Turre use mutes. Roney is showcased on "In Retrospect," a shimmering, mysterious, ethereal ballad that Turre wrote for him, reflecting the influence of Miles Davis on the trumpeter. Roney also appears on "Luna," which reflects the influence of Shaw's ambitious compositional style and use of extreme harmonic intervals on Turre. Perhaps the most beautiful entry on the set is Roditi's jazz-samba "Annette's for Sure," with bassist Nilson Matta and drummer Duduka Da Fonseca (who also plays berimbau). 

Together the band creates an authentic samba atmosphere that is underscored by Venezuelan pianist Luis Perdomo and Turre's shells. There is a killer Latin number here too in "Manny's Mambo," dedicated to Oquendo Turre also spent time in Conjunto Libre. The trumpeter here is 83-year-old legend Chocolate Armenteros. Both men and pianist Perdomo play moñas like the house is burning down, as percussionists and drummer underscore the joyous dance feel. "Adios Mi Amigo" is a Latin ballad written for Turre's late colleague and friend, pianist Hilton Ruiz. Roditi's solo is achingly beautiful and is underscored by Turre's use of the plunger mute and Andy Gonzalez's bassline. Youthful up-and-comer Hendrix is showcased on the final two cuts here, the modal "3 for Woody," and the deep, bluesy swing of "Brother Bob." Woody's Delight is not a mere tribute to Shaw's influence on Turre (though that would be enough); it displays the trombonist's wide angle and ambitious compositional and arranging skills with true flourish. The music here is all soulfully articulated and expertly performed, the album some of Turre's finest work. ~ Thom Jurek http://www.allmusic.com/album/woodys-delight-mw0002280215

Personnel: Steve Turre: trombone and shells; John Faddis: trumpet (1, 2); Wallace Roney: trumpet (3, 4); Claudio Roditi: trumpet (5, 6); Chocolate Armenteros: trumpet (7);  Freddie Hendrix: trumpet (8, 9);  Xavier Davis: piano (1 – 4, 8, 9);  Luis Perdomo: piano (5, 6, 7);  Aruan Ortiz: Fender Rhodes (4); Buster Williams: bass (1 – 4); Andy Gonzalez: bass (6, 7); Corcoran Holt: bass (8, 9); Nilson Matta: bass (5); Dion Parson: drums (1 – 4, 8, 9); Duduka Da Fonseca: drums and percussion (5, 6); Jimmy Delgado: timbales and conga (6, 7); Pedro Martinez: bongos and campana; George Delgado: conga (7).

Woody's Delight

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Monty Alexander - Monty Meets Sly And Robbie

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 51:24
Size: 120,9 MB
Art: Front

(5:08)  1. Chameleon
(5:25)  2. Monty's groove
(5:21)  3. Soulful strut
(5:14)  4. The in crowd
(5:01)  5. Sidewinder
(5:12)  6. People make the world go 'round
(4:28)  7. (Do the) kool step
(5:06)  8. Moanin'
(4:36)  9. Mercy, mercy, mercy
(5:49) 10. Hot milk

Jazz purists may turn up the nose at this jazz-reggae summit meeting, but that's their loss. It's not that they wouldn't have the right to be suspicious experiments in jazz-reggae fusion do not have a distinguished history. But the combination of Jamaican-born jazz pianist Monty Alexander and reggae godfathers Sly Dunbar and Robbie Shakespeare works beautifully here for a number of reasons: first of all, Alexander is a gifted melodist with an unerring sense of groove (not always a given with jazz players), and second of all, Sly and Robbie emancipated themselves long ago from reggae's rhythmic strictures, so there's lots of variety on this album. The grooves are never less than bone deep: on "Monty's Groove," Shakespeare's minimalist bassline and Dunbar's funky drumming propel Alexander into inspired (if a bit restrained) flights of improvisation, and "People Make the World Go 'Round" is a slow, dark dancehall workout that gives Alexander's piano lots of open space to work with. "Hot Milk," the album's closer, is a touching tribute to the late reggae organist Jackie Mittoo, on which Alexander plays mournful melodica over a modified rocksteady beat. There are times when you might wish Alexander would cut loose and wail a bit more, but this album is a delight from beginning to end. ~ Rick Anderson http://www.allmusic.com/album/monty-meets-sly-robbie-mw0000060577

Personnel: Monty Alexander (piano, melodica); Jay Davidson (saxophone); Steve Jankowski (trumpet); Handel Tucker (keyboards); Robbie Shakespeare (bass); Sly Dunbar (drums, programming); Desmond Jones (drums).

Monty Meets Sly And Robbie

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Mildred Bailey - The Rockin' Chair Lady (1931-1950)

Styles: Vocal
Year: 1994
File: MP3@320K/s
Time: 62:11
Size: 144,8 MB
Art: Front

(3:19)  1. Willow Tree
(2:56)  2. Honeysuckle Rose
(3:02)  3. Squeeze Me
(3:22)  4. Down-Hearted Blues
(3:09)  5. Blues In My Heart
(3:08)  6. You Call It Madness (But I Call It Love)
(3:02)  7. When It's Sleepy Time Down South
(3:08)  8. Wrap Your Troubles In Dreams
(2:42)  9. When That Man Is Dead And Gone
(3:17) 10. Jenny
(3:22) 11. Georgia On My Mind
(2:37) 12. Rockin' Chair
(3:11) 13. Sometimes I'm Happy
(3:14) 14. Ev'rything Depends On You
(3:02) 15. Lover, Come Back To Me
(3:28) 16. All Too Soon
(3:17) 17. It's So Peaceful In The Country
(2:36) 18. More Than You Know
(3:03) 19. Cry, Cry, Cry
(3:06) 20. Blue Prelude

One of at least six Mildred Bailey compilation albums with the phrase "Rockin' Chair Lady" in the title, this 20-track overview issued by GRP in 1994 spans virtually her entire recording career from her Paul Whiteman days (1931) to one of her very last sessions (1950). Possessed of a lovely and at times delicate voice, Mildred Bailey specialized in Tin Pan Alley pop tunes, mostly songs of love and heartbreak. Married for a while to xylophonist and bandleader Red Norvo, she achieved fame during the 1930s but gradually receded from the limelight after 1940. This collection of vintage recordings, which were originally released on Decca phonograph records, includes sublime interpretations of songs by Fats Waller, Benny Carter, Lovie Austin, Hoagy Carmichael, and Duke Ellington. ~ arwulf arwulf http://www.allmusic.com/album/the-rockin-chair-lady-1931-1950-mw0000121548

Personnel: Mildred Bailey (vocals); Dave Barbour, Gene Gifford, Al Hendrickson, Carmen Mastren (guitar); Mel Jenssen (violin); Jimmy Lytell (clarinet); Clarence Hutchenrider, Glen Gray, John Rotella, Kenny Sargent, Ted Nash, Wilbur Schwartz (reeds); Johnny Hodges (alto saxophone); Bo Ashford, John Best , Bobby Lee Jones, Jack Jenney, Joe Hostetter, Billy Butterfield, Bunny Berigan (trumpet); Billy Rauch, Eddie Kusby, Murray McEachern, Pee Wee Hunt, Si Zentner (trombone); Joe Hall , Herman Chittison, Teddy Wilson, Billy Kyle (piano); O'Neill Spencer, Jimmie Hoskins, Tony Briglia, Irving Cottler (drums).

The Rockin' Chair Lady (1931-1950)

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Branford Marsalis Trio - Bloomington

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 77:01
Size: 177,3 MB
Art: Front

(15:12)  1. Xavier's Lair
( 7:53)  2. Everything Happens To Me
(19:02)  3. The Beautyful Ones
(16:18)  4. Citizen Tain
(11:12)  5. Friday The 13th
( 7:21)  6. Roused About

This live set (part of which was included in the performance film The Music Tells You) features Branford Marsalis and his longtime trio (bassist Robert Hurst and drummer Jeff "Tain" Watts) really stretching out on six pieces. Most of the playing is unfortunately very long-winded and rather dull. Marsalis seems content to play the part of a chameleon, doing his impressions of late-period Coltrane, Sonny Rollins and (when he switches to soprano) Ornette Coleman. Also, the music lacks variety and Marsalis is off-mic part of the time. Although the final two selections give this set a much needed dose of humor, it is too little too late. ~ Scott Yanow http://www.allmusic.com/album/bloomington-mw0000098933

Personnel: Branford Marsalis (soprano & tenor saxophones); Robert Hurst (acoustic bass); Jeff "Tain" Watts (drums).

Bloomington

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Art Farmer Quintet - Manhattan

Styles: Trumpet Jazz
Year: 1982
File: MP3@320K/s
Time: 39:14
Size: 90,3 MB
Art: Front

(6:56)  1. Context
(5:11)  2. Blue Wail
(6:57)  3. Manhattan
(6:53)  4. Passport
(6:56)  5. Arrival
(6:19)  6. Back Door Beauty

Art Farmer added a bit of a different twist for these 1981 studio sessions, including baritone saxophonist Sahib Shihab with him in the front line, along with fellow expatriate Americans Kenny Drew (piano) and Ed Thigpen (drums), plus bassist Mads Vinding. Drew contributed the first two songs, including the boisterous mid-tempo opener "Context" and the brisk blues "Blue Wail," both top-notch features for Farmer and Shihab. The intricate take of Charlie Parker's "Passport" and Bennie Wallace's inventive "Back Door Beauty" find Shihab switching to soprano sax. 

The only standard is a lush take of "Manhattan," showcasing the leader's lyrical flugelhorn. This release is a little short by CD standards, clocking under 40 minutes, but it will be of great interest to fans of Art Farmer. ~ Ken Dryden http://www.allmusic.com/album/manhattan-mw0000188125

Personnel: Art Farmer (trumpet, flugelhorn); Sahib Shihab (soprano saxophone, baritone saxophone); Kenny Drew (piano); Ed Thigpen (drums).

Manhattan

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