Daniel Freedman - Imagine That

Styles:  Jazz, Bop
Year: 2016
File: MP3@320K/s
Time: 49:21
Size: 113,8 MB
Art: Front

(5:28)  1. Determined Soul
(6:02)  2. Baby Aya
(4:46)  3. Big in Yemen
(5:07)  4. Codex
(7:08)  5. Mindaho
(5:26)  6. Love Takes Time
(6:31)  7. Eastern Elegy
(8:49)  8. The Sisters Dance

Few can match drummer Daniel Freedman when it comes to pan-stylistic jazz presentations that cut across cultural lines. This lifelong New Yorker has found a way to bridge sonic worlds, erase boundary lines, and merge various musical languages in masterful fashion in his own work and in support of others. It's no wonder why the best of the best the one and only Sting, West African superstar Angelique Kidjo, and Israeli clarinet queen Anat Cohen, to mention three have called on Freedman. He isn't nearly as well-known as he should be at this point, due in no small part to the fact that his sideman duties take up much of his time, but with each successive release under his own name he furthers his reputation as one of the most open-minded drummer-leaders on record.  Imagine That, Freedman's third album, is a logical next step given what appeared on its predecessor Bamako By Bus (Anzic Records, 2012). It's a global feast for the senses built by one of the most intriguing multicultural units assembled in recent times. What emerges, with Brooklynite Jason Lindner manning the keys, Benin-born sensation Lionel Loueke on guitar, Israeli Omer Avital holding things down on bass, and Brazilian percussionist Gilmar Gomes adding rhythmic spice to the mix, is a beyond-category hybridized form of music. Pan-African presentations, Carnatic ideals, Middle Eastern sounds, blues-tinged suggestions, modern jazz tides, and more all come into the picture at one time or another. The grooves are deep, the harmonies are intriguing, and the end result is something that's both smart and stirring.

This band gets down on the dance floor right out of the gate with Lindner's "Determined Soul," a piece with pseudo-Afrobeat undercurrents and Indian inflections. It's the first of many rhythmically rousing numbers on the bill, and each one relies on different source material and stylized directions. There's Freedman's "Baby Aya," a cradle song that morphs into a celebration and features Loueke and Kidjo, making her lone guest appearance, on vocals; "Big In Yemen," built on a "Yemeni/Bahia hybrid" groove cooked up by Freedman and Gomes; Loueke's "Mindaho," a hypnotic, slow-building roamer that features some of the guitarist's most entrancing playing on record; and the Gnawa-influenced "The Sisters Dance," uplifted by inspired contributions from Gomes and some fiery, barbed guitar work from Loueke. In other places, Freedman and company prove to be just as engaging without putting such a premium on rhythmic dialogue. Radiohead's "Codex," for example, moves from a cinematic space to a pure rock environment. Then there's "Love Takes Time," an undiluted soul experience, and "Eastern Elegy," a universal threnody of a sort that tugs at the heartstrings and features some incredibly moving bass work from Avital. With the eight numbers presented here, Daniel Freedman manages to prove that seemingly dissimilar musics, much like people, can prove to be completely compatible. Imagine that. ~ Dan Bilawsky https://www.allaboutjazz.com/imagine-that-daniel-freedman-anzic-records-review-by-dan-bilawsky.php

Personnel: Lionel Loueke: guitar, vocals; Jason Lindner: piano, keyboards; Omer Avital: bass, oud (3); Gilmar Gomes: percussion; Daniel Freedman: drums; Angélique Kidjo: vocals (2).

Imagine That

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Hiroshima - Little Tokyo

Styles: Jazz Fusion, Big Band
Year: 2007
File: MP3@320K/s
Time: 51:08
Size: 117,8 MB
Art: Front

(5:25)  1. Midnite Sun
(4:59)  2. On The Fence
(4:12)  3. Lanai
(3:37)  4. Red Beans and Rice
(4:32)  5. Sir Charles
(5:41)  6. Hidden Times
(4:25)  7. Shades of Honor
(5:14)  8. Quan Yin
(4:33)  9. Drama
(4:19) 10. Hiro Chill
(4:05) 11. Little Tokyo Underground

Something seems to happen to many bands after they enter 20 to 25 years of making music. They seem to run out of new and interesting things to say and pretty soon all they do is recycle the same scant ideas over and over as they become dim parodies of themselves. You see this happen all the time in rock 'n roll where, too often, making money takes precedence over having anything new and fresh to say. How fortunate it is that Hiroshima doesn't play rock. If anything the band has stayed fresh and innovative by merging jazz, R&B, and world music with an awesome array of Japanese percussion and other native instruments like June Kuramoto's koto. Hiroshima makes some truly diverse and interesting music and Little Tokyo, its fourteenth album, is the second consecutive release without a featured vocalist. The decision to eschew a singer is a smart move by Hiroshima as it puts the music first instead of merely sounding like the back-up band. Dan Kuramoto's mournful tenor sax offsets the booming taiko drums of Shoji Kameda and Kenny Endo, as June Kuramoto's koto solidifies the Far Eastern roots of the group and sets the tone for the rest of the album. Kimo Cornwell's piano and keyboards are standouts, particularly so on "On the Fence," and again as he trades off with keyboardist James Lloyd from Pieces of A Dream as he sits in on the lovely "Lanai."

Just because Hiroshima can play it sophisticated and stylish doesn't mean they can't get down. "Red Beans and Rice," by Cornwell, is an homage by the band to the spirit and culture of New Orleans as it struggles to rise again from the disaster of Hurricane Katrina, showing off some nasty-as-he-wanna-be bass by Dean Cortez. There has been an ongoing love affair between Hiroshima and black American music since the band began in 1979. They don't just want to sit back and close your eyes in blissful contemplation; they want you to get up and dance or at the very least snap your fingers, bob your head and shake your groove thing. "Drama," "Hiro Chill" and "Little Tokyo Underground" are all designed provoke such a reaction. Unlike some bands whose attempts to jam seem contrived and calculated, Hiroshima never lapses into a parody of a dance band. Its foundation is, first and foremost, a jazz band that knows how to groove and when to lay back and soothe. Little Tokyo is ample evidence Hiroshima is still rising and advancing as a musical force to be reckoned with and respected. There's no danger of them joining the country fair circuit of broken-down oldies bands dutifully cranking out tired version of past hits. Dan Kuramoto and the rest of Hiroshima are still challenging themselves, making innovative music and having fun in the process. ~ Jeff Winbush https://www.allaboutjazz.com/little-tokyo-hiroshima-heads-up-international-review-by-jeff-winbush.php
 

Personnel: June Kuramoto: koto; Dan Kuramoto: tenor and soprano saxophone, flute, keyboards, synthesizer, percussion, shakuhachi; Kimo Cornwell: piano, synthesizer, rhodes, clavinet; Danny Yamamoto: drums; Dean Cortez: bass; Shoji Kameda: taiko, percussion, voice; Dean Taba: acoustic bass (1, 6, 8, 10); Kenny Endo: taiko, percussion (1, 6-8, 11); Richie Gajate Garcia: conga, percussion (1, 5, 7, 8); James Lloyd: keyboards, synthesizers (2); Mary Garcia: coquito (5); Leslie Chew: guitars (9).

Little Tokyo

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Debbie Gifford - You Taught My Heart To Sing

Size: 132,4 MB
Time: 56:28
File: MP3 @ 320K/s
Released: 2001
Styles: Jazz Vocals
Art: Front

01. Fascinating Rhythm (3:16)
02. It Amazes Me (6:43)
03. Honeysuckle Rose (3:57)
04. East Of Sun And West Of The Moon (4:06)
05. You Taught My Heart To Sing (6:07)
06. How Insensitive (4:42)
07. Devil May Care (2:56)
08. Emily (Instrumental) (2:40)
09. Tea For Two (5:09)
10. If I Were A Bell (3:28)
11. Autumn Leaves - When October Goes (6:05)
12. Lucky To Be Me (7:14)

Internationally Renowned Vocalist Debbie Gifford has been nominated “Jazz Musician of the Year, “Jazz Band of the Year”, and “Vocalist of the Year” in the Annual Free Times Music Awards Not only an internationally renowned vocalist and composer, she is the leader for her own jazz ensemble “Debbie Gifford Jazz Impact” and big band “Debbie Gifford’s Sweet City Swing”. She performs all styles of music including Ballads, Swing, Latin, Pop and Rhythm & Blues.

Performing to a sellout audiences around the world, Gifford continues to entertain audiences with her impeccable vocal abilities and irresistible charm! Launching her international notoriety in 2004, Gifford has continued to perform annually at festival, club and concert venues in the USA,Europe & China. In additon, appearing in many of the top jazz clubs, festival and concert venues in the United States, Asia and Europe, including: Chicago, St.Louis, Cleveland, Los Angeles, Philadelphia and New York, as well as, Italy, France, Austria, Spain and China. In 2007, she debuted at the famous Birdland Jazz Club in New York City as special guest vocalist with Tommy Igoe and The Birdland Big Band. Gifford has performed with highly acclaimed jazz greats: Marcus Belgrave, Bobby Watson, Joe Lovano and Dominick Farinacci.

You Taught My Heart To Sing

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Yvonnick Prene - Breathe

Size: 103,4 MB
Time: 44:22
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Blues Comes Down The Seine (5:44)
02. Looking Up (7:29)
03. Breathe (5:12)
04. Got To Go (5:35)
05. Mr. Tix (5:12)
06. The Comedian (5:13)
07. Armorica (5:04)
08. As Night Falls (4:49)

Yvonnick Prene has called New York home since 2007, but jazz fans in and around the Big Apple and beyond can be forgiven if they lacked awareness about his harmonica skills until more recent times. His first album—the inviting Jour de Fête (SteepleChase Records, 2013)—took a while to arrive, so the only way to learn about Prene prior to 2013 was through word of mouth or a chance live encounter. Now, judging from his recent output, it appears that he's making up for lost time. Two more albums—Wonderful World (Self Produced, 2014) and Merci Toots (Self Produced, 2015)—came in quick succession after his debut, a full gigging calendar in the past few years has kept him in the public eye, and a flurry of writing and publishing activity has produced a good number of jazz harmonica educational publications from this rising star. And now there's Breathe.

Prene's fourth album finds him working within an organ-centric setting. It's a first on record for him, but it sounds as if he's been dealing with this format forever. Everything from the lively "Blues Comes Down The Seine" to the gently waltzing "As Night Falls" sounds natural as can be. Those two pieces bookend the album, but what's in between—an easy grooving rendition of pianist Monty Alexander's "Got To Go," a charged original in tribute to the Tixier brothers, a joyful calypso number dubbed "The Comedian," and several other winners—is just as interesting.

Prene's band here includes two veterans—organist Jared Gold and guitarist Peter Bernstein—and relative newcomer Allan Mednard on drums. For the most part, these four prove to be a simpatico set of players, ably supporting one another and playing off of each other. Mednard is occasionally a tad too heavy-handed for the topic at hand, evident in his crash-filled bossa nova backing on "Armorica," but that's just a small caveat. The big picture that Breathe projects—centrist sounds with enough surprises in the structure, soloing, and interplay to hold interest—is a bright one. ~Dan Bilawski

Personnel: Yvonnick Prene: harmonica; Peter Bernstein: guitar; Jared Gold: Hammond B3 organ; Allan Mednard: drums.

Breathe

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Catherine Hughes - Diva In The Rough

Size: 102,9 MB
Time: 44:06
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Takin' A Chance On Love (Feat. Donald Guinn) (3:01)
02. Miss Celie's Blues (2:13)
03. Button Up Your Overcoat (2:45)
04. Cry Me A River (2:54)
05. I've Got A Feeling I'm Falling (3:10)
06. Get Happy (3:35)
07. Stormy Weather (Feat. Donald Guinn) (3:15)
08. Ill Wind (2:52)
09. Ain't Misbehavin' (2:05)
10. Maybe, Who Knows (2:14)
11. La Vie En Rose (3:20)
12. Am I Blue (5:47)
13. Undecided (Feat. Donald Guinn) (Live) (6:49)

To say that Catherine Hughes was born with a microphone in her mouth is something of an overstatement, bus she does come from a long line of Chanteuses, Thespians and Revolutionaries, which explains much.

She grew up around actors and performers, and her love for all things theatrical was instilled at an early age. She was blessed with an angelic voice a sharp tongue and an incisive quick wit. A tumultous and inspired youth led her to be invited to attend the Juliard School of Music at age 21.

Unable to attend, she continued her education in Toronto. The formal training she didn't get in NYC was offset by talent and tenacity in spades, allowing her to create her own sound and style unfettered by conventional thinking. She started to perform and adopted the moniker Diva In The Rough when one location demanded a title for her show.

By way of explaination she says, "When I first started performing with the inimitable Don Guinn I felt awkward on stage during his piano solos. What do I do with my hands? Who do I look at? Can I have a purse to go through?

I decided to create a persona, The Diva In The Rough. She rolls her eyes at his admittedly spectacular piano playing. She stares down people who chat while she’s singing. She allows me to say what we're all thinking but are generally too polite to say. We tend to get away with a lot of shenanigans during shows, thanks to The Diva. Without her, I wouldn't have the freedom to have the fun I do on stage. She at once allows me to reveal my inner self and hide behind her a little."

With her story telling and on-stage shenanigans garnering almost as much acclaim as her bawdy, bluesy, soaring contralto, the Diva In The Rough name stuck. She continued to sing at a variety of venues around Toronto including The Drake, The Gladstone, Statler's, Now Lounge, Gate 403 and many others, and she earned a reputation for being able to elicit laughter and tears at the same time. When NOW magazine described her as a "cross between Mae West and Bette Middler", it was rumoured that Bette was deeply touched.

Diva In The Rough

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Larry Wilson - No Secrets No Lies

Size: 226,2 MB
Time: 97:27
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. On The Move (8:13)
02. Ode To Oscar (6:39)
03. Little Sunflower (6:57)
04. We Found Love (4:29)
05. You Seem Familiar (Feat. Akia Uwanda) (7:48)
06. Open Sesame (7:44)
07. The Afterglow (7:21)
08. Love Me In A Special Way (Feat. Celest Betton) (5:22)
09. The Lord's Prayer (3:09)
10. Light (4:52)
11. Midnight Oil (3:59)
12. Release (4:32)
13. Blue Skin (7:45)
14. See You (4:58)
15. Tuti's Jig (6:55)
16. April In Paris (6:38)

This eclectic jazz album by one of Jacksonville's premiere musicians, Larry Wilson, features a diverse array of highly skilled sidemen - not to mention some breath-taking compositions and arrangements by the band leader. In "No Secrets No Lies," Larry Wilson is featured on drums and vocals, with Daniel Dickinson's touches added as a sideman on alto sax. It is perhaps best described as a jazz fusion album - a collage of straight-ahead, second-line, R&B, and many other perspectives that each represent a different vantage point from which Wilson has viewed jazz music in light of contemporary style. A terrific album, and hopefully the first of many to come from Larry Wilson as leader, "No Secrets No Lies" will undoubtedly leave you wanting more.

No Secrets No Lies

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Eddie Daniels - Blackwood

Styles: Clarinet Jazz
Year: 1989
File: MP3@320K/s
Time: 46:34
Size: 109,7 MB
Art: Front

(4:30)  1. Blackwood
(4:50)  2. Cruise
(4:57)  3. Heartsong
(4:45)  4. P.I.
(4:54)  5. Toucan Dance
(5:37)  6. Black Diamond Run
(5:30)  7. Clara's Heart
(5:09)  8. Walking The Line
(0:54)  9. Blackwood (Reprise)
(5:24) 10. Blue Waltz

Eddie Daniels is such a monster on the clarinet that all of his GRP recordings are worth acquiring. This one, however, due to the somewhat commercial nature of some of the tunes (and the lightly funky rhythm sections), is of lesser interest compared to the classics such as Breakthrough. Daniels sounds fine but he is far better than much of the material (generally written by either the clarinetist, Rob Mounsey or Dave Grusin). ~ Scott Yanow http://www.allmusic.com/album/blackwood-mw0000200138

Personnel: Eddie Daniels (clarinet); Dave Grusin (piano); Rob Mounsey (keyboards); Steve Khan (guitar); Dave Weckl (drums).

Blackwood

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Sonny Criss - Plays Cole Porter

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 37:00
Size: 101,1 MB
Art: Front

(4:13)  1. I Love You
(3:12)  2. Anything Goes
(3:16)  3. Easy To Love
(3:10)  4. It's Alright With Me
(4:19)  5. In The Still Of The Night
(2:46)  6. Love For Sale
(4:43)  7. Night And Day
(2:48)  8. Just One Of Those Things
(5:43)  9. What Is This Thing Called Love
(2:46) 10. I Get A Kick Out Of You

Sonny Criss plays Cole Porter and the results are way greater than the sum of the parts even though those parts are already pretty darn great! Criss' alto sax has a superb tone at this time razor-sharp, and nicely crisp yet still filled with warmth that sets it apart from some of his more modern contemporaries a beautiful balance that really illuminates these tunes, and has you thinking of them as fresh Criss compositions, not older Porter standards. The instrumentation is quite fresh, too  thanks to the addition of Larry Bunker on vibes, which is a really nice surprise and piano by Sonny Clark and Jimmy Bunn. The great Lawrence Marable plays drums and titles include "I Love You", "Easy To Love", "Night & Day", and "Love For Sale". (200 gram Quiex pressing.) © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/20372
 

Personnel:  Alto Saxophone – Sonny Criss;  Bass – Buddy Clark;  Drums – Lawrence Marable;  Piano – Sonny Clark;  Vibraphone – Larry Bunker

Plays Cole Porter

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Gene Ammons - The Happy Blues

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 40:16
Size: 93,8 MB
Art: Front

(12:04)  1. The Happy Blues
( 8:38)  2. The Great Lie
(12:50)  3. Can't We Be Friends
( 6:42)  4. Madhouse

The Happy Blues is one of the great studio jam sessions in history. Tenor saxophonist Gene Ammons is teamed up with trumpeter Art Farmer, altoist Jackie McLean, pianist Duke Jordan, bassist Addison Farmer, drummer Art Taylor, and the congas of Candido for four lengthy selections. Best is the title track, which has memorable solos and spontaneous but perfectly fitting riffing by the horns behind each others' solos. The other numbers ("The Great Lie," "Can't We Be Friends," and "Madhouse") are also quite enjoyable, making this a highly recommended set. ~ Scott Yanow http://www.allmusic.com/album/the-happy-blues-mw0000413645

Personnel: Gene Ammons (tenor saxophone); Jackie McLean (alto saxophone); Art Farmer (trumpet); Duke Jordan (piano); Addison Farmer (bass); Arthur Taylor (drums); Candido (congas).

The Happy Blues

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Marcus Printup - Young Bloods

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 60:11
Size: 138,3 MB
Art: Front

(7:46)  1. En Route
(7:37)  2. The bishop
(7:02)  3. My Foolish Heart
(7:06)  4. Young Bloods
(8:19)  5. How Great Thou Art
(6:32)  6. In Your Own Sweet Way
(8:11)  7. Au Privave
(7:36)  8. Greasy

Sparkling work from trumpeter Marcus Printup a player who can blow with great power when needed, but also hit these slinky, soulful moments too a balance that only seems to get better and better with each new record! There's a bit of Freddie Hubbard in that approach, but Printup's definitely his own man too and can step easily into bolder, more spiritual passages especially when working with a group this great as the lineup includes Patrick Bartley on alto, Coleman Hughes on trombone, Allyn Johnson on piano, Dezron Douglas on bass, and Ulysses Owens on drums! Owens and Douglas really hold things together wonderfully with a style that's sophisticated, yet always swinging especially on some of the album's boldest tracks. Titles include the great originals "En Route", "The Bishop", "Greasy", and "Young Bloods" plus a wonderful take on "In Your Own Sweet Way", done at a level that really opens the tune up with the horns! © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/771441

Personnel: Marcus Printup (trumpet), Patrick Bartley (alto saxophone), Coleman Hughes (trombone), Allyn Johnson (piano), Dezron Douglas (bass), Ulysses Owens (drums)

Young Bloods

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Claude Hopkins - Safari Stomp

Bitrate: MP3@320K/s
Time: 63:51
Size: 146.2 MB
Styles: Piano jazz
Year: 2002
Art: Front

[4:08] 1. I Would Do Anything For You
[4:55] 2. Crying Out My Heart For You
[4:09] 3. Struttin' With Some Barbecue
[6:19] 4. Nice Blues
[4:31] 5. Them There Eyes
[3:25] 6. Poor Butterfly
[4:01] 7. Safari Stomp
[3:53] 8. I'm Coming Virginia
[3:41] 9. Who's Sorry Now
[4:02] 10. Cute
[2:39] 11. Struttin' With Some Barbecue
[4:23] 12. I Got It Bad (And That Ain't Good)
[3:14] 13. It's Wonderful
[3:34] 14. Safari Stomp
[4:11] 15. Cute
[2:40] 16. Struttin' With Some Barbecue

Followed only by Sophisticated Swing, a live album captured at Virginia's Manassas Jazz Festival in December 1974, Safari Stomp was hatched in Valaurisis, France six months earlier on July 17 and appears to constitute pianist and bandleader Claude Hopkins' very last studio recording. Originally released as Black & Blue by the Black & Blue record label, the album's 2003 reissue adds previously omitted titles "Cute," "It's Wonderful," "Who's Sorry Now," and "I Got It Bad (And That Ain't Good)" along with several juicy alternate takes. Hopkins, whose recording career began in 1922, is heard in relaxed communion with Louis Armstrong's longtime bassist Arvell Shaw and master percussionist Jo Jones, a cardinal member of the Count Basie Orchestra from 1935-1948. This intimate and pleasantly casual outing compares nicely with latter-day trio recordings by Hopkins' colleagues Duke Ellington and Earl Fatha Hines. Hopkins' music is recommended for tooling around in your ride or preparing a big meal for trusted friends and family. ~arwulf arwulf

Safari Stomp

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Lorraine Feather - Cafe Society

Bitrate: MP3@320K/s
Time: 52:00
Size: 119.1 MB
Styles: Vocal jazz
Year: 2003
Art: Front

[5:25] 1. Café Society
[2:49] 2. We're Rockin' In Rhythm
[3:00] 3. The Speed Of Light
[3:36] 4. Jungle Rhythm
[5:07] 5. Love Call
[4:22] 6. The Right Idea
[3:32] 7. Something Like My Own
[4:52] 8. Big Fun
[4:14] 9. Hot Coffee
[5:20] 10. Days Of Old
[4:26] 11. The Green Flash
[5:11] 12. The Way We Say Goodbye

It's taken nearly two years for prodigious jazz progeny Lorraine Feather to oblige us with a follow up to her terrific Fats Waller tribute, New York City Drag. The wait, it turns out, has been well worthwhile. Last time around, Feather shaped superb lyrics to fit 12 Waller classics. With Cafe Society, she does the same on a broader scale, refitting tunes from an even dozen composers-Charlie Barnet, Duke Ellington and Johnny Mandel among them-with sassy new lyrics. Feather's intent is, it seems, to pay spirited homage to the prebop sophistication of her legendary parents (big band singer Jane and fabled critic Leonard). When, in the title tune, she pines for "those legendary days" and wishes "with all my heart [that] I could be at Cafe Society," it's easy to picture her mother at the microphone in some smoky Manhattan den while her father sits ringside.

New York City Drag was fun and inventive in a mellow, understated way. Here, Feather is decidedly more boisterous, swinging like an Andrews Sister through Ellington and Harry Carney's "Rockin' in Rhythm" and going wildly native on both the deliciously overblown "Big Fun" and the tropically syncopated "Jungle Rhythm" (featured in Disney's latest animated epic, The Jungle Book 2). She also has a whale of a time breezing through Barnet and Skippy Martin's "The Right Idea," a playfully romantic adventure reminiscent of "Let's Get Lost." Her spirited high jinks are, however, gorgeously offset by such velvety additions as Mandel's "Speed of Light" (sort of a gently heated Afro-Cuban version of "You've Got a Friend") and a sultry "Love Call" (from Ellington's "Creole Love Call") that recalls the sexy insouciance of Lee Wiley. Most remarkable, though, is "The Way We Say Goodbye," a soaring salute to torchiness that underscores the melancholic Sturm und Drang of "Black Coffee" with the philosophic mistiness of Cole Porter's "Every Time We Say Goodbye." ~Christopher Loudon

Cafe Society

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Jon Johnson - Daydreamer

Bitrate: MP3@320K/s
Time: 38:09
Size: 87.4 MB
Styles: Blues/Jazz guitar
Year: 2016
Art: Front

[3:49] 1. Light Up The World
[3:18] 2. The Glass House
[3:49] 3. Underline
[3:44] 4. Daydreamer
[4:20] 5. Amends
[3:12] 6. Find My Way
[3:53] 7. Welcome To Wanderland
[4:05] 8. Wonderful Tonight
[4:00] 9. A Day Light
[3:56] 10. Fade To Grey

I'm 32 years old from Portland OR. I've been Playing Guitar for 20 years, and Playing in Bands Since I was 14. I have Toured the Country and played Packed Venues, as well as performing in, half empty, Local Coffee Shops.

My First Solo Full Length Album is an Instrumental Guitar Album based around Melody and Soul Expression. A Journey through the Paths of Life told Without Lyrics, only Contemporary Sounds.

Daydreamer

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Little Richard - The Georgia Peach

Bitrate: MP3@320K/s
Time: 57:42
Size: 132.1 MB
Styles: R&B, Rock N Roll
Year: 1991
Art: Front

[2:22] 1. Tutti Frutti
[2:04] 2. Baby
[2:35] 3. I'm Just A Lonely Guy
[2:40] 4. True Fine Mama
[2:37] 5. Kansas City Hey-Hey-Hey-Hey!
[2:40] 6. Slippin' And Slidin'
[2:07] 7. Long Tall Sally
[2:14] 8. Miss Ann
[2:07] 9. Oh Why
[2:07] 10. Ready Teddy
[2:04] 11. Hey Hey Hey Hey
[2:21] 12. Rip It Up
[2:23] 13. Lucille
[2:14] 14. Heeby Jeebies
[2:25] 15. Can't Believe You Wanna Leave
[2:47] 16. Shake A Hand
[2:25] 17. All Around The World
[2:24] 18. She's Got It
[2:01] 19. Jenny, Jenny
[2:08] 20. Good Golly Miss Molly
[2:29] 21. The Girl Can't Help It
[2:17] 22. Send Me Some Lovin'
[1:51] 23. Ooh! My Soul
[2:16] 24. Keep A Knockin'
[1:50] 25. Whole Lotta Shakin' Going On

One of the definitive Little Richard anthologies, Specialty Records' 25-track Georgia Peach brings together all of Richard's hits in chronological order, along with several lesser-known, if no less top-notch, singles. These are the recordings Richard built his career upon and they showcase his most stripped-down, rockin', rhythm & blues-oriented sound. Although he had already recorded for RCA in the early '50s (anthologized on Bear Family Records' superb The Formative Years: 1951-53), it was his sides for Specialty Records, recorded between 1955 and 1959, that codified his distinctive, revelatory approach to rock & roll; roiling barroom piano, unhinged falsetto vocals and lyrics full of cheeky innuendo just this side of dirty. Included here are such classic recordings as "Tutti Frutti," "Good Golly Miss Molly," Slippin' and Slidin'," "Long Tall Sally," "Jenny, Jenny, Jenny," and more. Also included are such lesser appreciated, but no less incendiary cuts as "Heebie Jeebies," "She's Got It," and "Rip It Up," among others. If you are looking for a collection that brings together a cross-section of Richard's most definitive early career sides, then look no further than Georgia Peach. ~Matt Collar

The Georgia Peach

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Gary McFarland - Soft Samba

Bitrate: MP3@320K/s
Time: 28:56
Size: 66.2 MB
Styles: Bossa Nova, Latin jazz
Year: 1964/2015
Art: Front

[1:45] 1. Ringo
[2:33] 2. From Russia With Love
[2:16] 3. She Loves You
[3:03] 4. A Hard Day's Night
[2:04] 5. The Good Life
[2:18] 6. More
[3:55] 7. And I Love Her
[1:57] 8. The Love Goddess
[3:13] 9. I Want To Hold Your Hand
[1:51] 10. Emily
[1:53] 11. California, Here I Come
[2:03] 12. La Vie En Rose

Acoustic Guitar – Antonio Carlos Jobim; Bass – Richard Davis; Flute – Seldon Powell, Spencer Sinatra; Guitar – Kenny Burrell; Percussion – Sol Gubin, Willie Bobo; Piano – Patty Bowen; Trombone – Jimmy Cleveland. Recorded June15-16, September 3, October7, 1964, at Van Gelder Recording Studios, NJ.

Gary McFarland's profile was rising in jazz as an arranger and producer, having already crafted respected albums with artists such as Bill Evans. This album was perceived as a step in more commercial directions, what with its covers of Beatles tunes, film themes, and all. This didn't make it popular with jazz critics of the time, generally known for being snobby, anyways. Now that Gary McFarland is being increasingly remembered, there are similarly increasing numbers of McFarland-related reissues like this to be found. It is generally accepted that his follow-up --- The In Sound --- is the better album, but don't let that knowledge cause you to overlook Soft Samba!

Soft Samba may not have Gabor Szabo, but it does have Kenny Burrell and Antonio Carlos Jobim on guitar. It has Willie Bobo on percussion. It has "yeah, yeah, yeah" as the only readily identifiable lyrics on an album otherwise full of vocals. For these reasons and more, please introduce yourself to this album and to the thoroughly enjoyable repertoire of Gary McFarland. ~Panko Morton

Soft Samba

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Girls From Mars - Planet Swing

Bitrate: MP3@320K/s
Time: 45:34
Size: 104.3 MB
Styles: Retro Swing
Year: 1999
Art: Front

[3:08] 1. Jitter Joe
[2:45] 2. It Don't Mean A Thing (If It Ain't Got That Swing)
[3:39] 3. Stompin' At The Savoy
[3:47] 4. What A Little Moonlight Can Do
[3:05] 5. Spring Cleaning
[2:26] 6. Killin' Jive
[2:39] 7. Crazy People
[4:32] 8. Evening
[3:16] 9. Free Eats
[3:02] 10. Bei Mir Bist Du Schoen
[3:18] 11. Salute To Harlem
[3:20] 12. Straighten Up And Fly Right
[2:57] 13. One Is Never Too Old To Swing
[3:32] 14. We Just Couldn't Say Goodbye

Girls from Mars capture the essence of a music that was born in smoky bars in the 1930's. True to that tradition, their intuitive harmonies are a joyous remembrance of the swing era. Material includes songs recorded by: The Boswell Sisters, Cats 'n the Fiddle, The Mills Brothers, Ella Fitzgerald, The Andrews Sisters, Louis Armstrong.

Wendi Bourne, Lauren Jansen and Annie Patterson are the core of the group. Singing together since 1983, they have developed a way of singing together that is truly inspiring for everyone who loves great singing and a groovin' beat! Swing music is their true love, as is evident on their recording, Planet Swing. THE BAND is made up of: Wendi Bourne (guitar/vocal), Lauren Jansen (snare/vocal), Annie Patterson (vocal), Ralph Gordon (bass), Steve Jones & Tom Petroski (piano), Paul Grant (tpt) and Paul Butler (clarinet).

Planet Swing

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Barbara Dennerlein - In a Silent Mood

Styles: Jazz, Hard Bop, Post-Bop 
Year: 2007
File: MP3@320K/s
Time: 55:46
Size: 127,9 MB
Art: Front

(6:44)  1. Home Is Where My Heart Is
(9:36)  2. Always Remember
(7:13)  3. When You're Looking Back
(5:52)  4. Last Call
(7:59)  5. I Miss You
(9:07)  6. Precious Moments
(6:28)  7. Lost Friends
(2:44)  8. Reflections

German Hammond B-3 innovator Barbara Dennerlein not only doesn't sound like Jimmy Smith on In a Silent Mood, it is really doubtful that these tracks could even be called jazz. A tranquil suite to the power of the inner life, In a Silent Mood is made up of carefully composed segments that stand individually on their own, but taken together, form a complete whole. Using only her B-3 here (and the occasional piano), and outfitted with foot pedals that trip her MIDI synthesizer settings, Dennerlein has assembled a beautiful album that glides and reaches into the rare, thin atmosphere of dreams.

As much as Smith defined the possibilities of the B-3 at the end of the 20th century, Dennerlein is beginning to define it for the 21st. ~ Steve Leggett http://www.allmusic.com/album/in-a-silent-mood-mw0001084946

In a Silent Mood

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Jacky Terrasson Jazz Trio - Lover Man

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 53:51
Size: 123,7 MB
Art: Front

(5:18)  1. Donna Lee
(4:35)  2. Nardis
(2:22)  3. First Child
(9:43)  4. In Your Own Sweet Way
(2:15)  5. Wall
(7:09)  6. Lost
(5:50)  7. Broadway
(7:43)  8. Lover Man
(2:29)  9. Close Enough For Love
(6:24) 10. Love For Sale

Jacky Terrasson finds new routes into familiar compositions on these 1993 sessions for the Japanese Venus label. Well accompanied by bassist Ugonna Okegwo and drummer Leon Parker, the pianist dives head first into a rousing, if unusual version of Charlie Parker's "Donna Lee," initially kicking off an explosive vamp to play against its theme, though he eventually discards the vamp in favor of a more conventional, though thoroughly post-bop approach to this bop classic. Likewise, Terrasson introduces Miles Davis with a good bit of drama, even if he is more direct in his improvised introduction than Bill Evans was in his final years. The pianist's arrangement of Dave Brubeck's "In Your Own Sweet Way" is particularly haunting, with his surprising chords in the bassline, then eases up a bit as he gets into a funky mood. Terrasson has just as much fun with standards like "Broadway" and "Love for Sale," while also proving himself as a promising composer with two strong originals. ~ Ken Dryden http://www.allmusic.com/album/lover-man-mw0000520805

Personnel:  Jacky Terrasson – piano;  Ugonna Okegwo – bass;  Leon Parker - drums

Lover Man

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Gary Burton / Chick Corea - Crystal Silence

Styles: Vibraphone And Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 44:32
Size: 103,3 MB
Art: Front

(6:21)  1. Senor Mouse
(5:09)  2. Arise, Her Eyes
(4:03)  3. I'm Your Pal
(6:26)  4. Desert Air
(9:06)  5. Crystal Silence
(2:43)  6. Falling Grace
(4:45)  7. Feelings And Things
(2:11)  8. Childrens Song
(3:44)  9. What Game Shall We Play Today

For Crystal Silence, the first of several partnerships between Chick Corea and vibraphonist Gary Burton in the 1970s, the two musicians selected an interesting array of material. The compositions on this record are all modern ones, either by Steve Swallow, Mike Gibbs, or Corea himself. It is a mostly downtempo affair, which allows each player to stretch out and play highly melodic solos over the often difficult changes. In keeping with most ECM releases, there is a distinct presence of European elements to the improvisations. There are few overt blues or bebop phrases, Corea and Burton opting instead for modern melodies to fuel their improvisations. Burton has managed to internalize the Spanish and modal implications of Corea's tunes with little difficulty, and solos with joyful ease through such tracks as "Señor Mouse." Corea himself is absolutely burning. His solo contribution on the same track is both fiery and introspective, combining in one statement the poles for which he is best-known. The title track is also the centerpiece of the album, a nine-minute exploration of the Corea ballad that first appeared on his Return to Forever record in 1972. In keeping with the tradition of the great masters of the ballad form, time seems to disappear as Burton and Corea lovingly caress the song's simple melody and dance effortlessly around the chords, building intensity only to let it subside once more. Crystal Silence is a sublime indication of what two master improvisers can do given quality raw material, with the first side of this record being particularly flawless. Improvised music is rarely this coherent and melodic. Essential for fans of Corea, Burton, or jazz in general. ~ Daniel Gioffre http://www.allmusic.com/album/crystal-silence-mw0000198910

Personnel: Chick Corea (piano); Gary Burton (vibraphone).

Crystal Silence

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Daniel Freedman - Bamako By Bus

Styles: Jazz, Bop
Year: 2012
File: MP3@320K/s
Time: 53:38
Size: 123,8 MB
Art: Front

(1:53)  1. Odudua featuring Abraham Rodriguez
(6:23)  2. Elegba Wa featuring Lionel Loueke
(5:55)  3. Deep Brooklyn
(5:15)  4. Rumba Pa' NYC featuring Abraham Rodriguez and Pedro Martinez
(5:40)  5. Alona featuring Mark Turner
(9:00)  6. All Brothers featuring Lionel Loueke
(6:40)  7. Darfur/Oasis featuring Joshua Levitt
(6:43)  8. Sa'aba featuring Mark Turner and Avishai Cohen
(6:05)  9. Bamako By Bus featuring Lionel Loueke

The sophomore release for drummer Daniel Freedman could simply be retitled Passion and not be too far off the mark. To be this comfortable with who you are and where you are going is a gift but to pull off the same passion as an artist is a thing of rare beauty. Freedman is a first call world class percussionist having been heard on recorded works with such luminaries as Sting, Tom Harrell and Youssou N' Dour. Bamako By Bus is a stunning release as it fuses a myriad of influences that range from jazz to African, Cuban, funk and pop and the end result is a stunning new land of sonic texture and feeling. Welcome to the land of rhythm and groove! A highly personal recording of a musicians inner vision of where another journey may well start but the end is not specifically laid out but left up to the listener and Freedman. Bamako By Bus is also meant to confirm that New York City is indeed the mecca of the jazz universe with musicians coming together from all over the world to pool their collective talents.

Music was specifically written with certain players in mind but there is united core of Meshell Ndegeocello on bass, the incredible Avishai Cohen on trumpet, Jason Linder on keyboards and of course Daniel Freedman handling the duties behind the kit. There are virtually too many highlights to list in their entirety including the most under rated saxophonist on the planet Mark Turner and his musical union with the haunting and gorgeous ballad "Alona." Perhaps a personal favorite would be the sonic fire power of Ndegeocello and Linder taking funk to the next level while Avishai Cohen lays down a jaw dropping solo showcasing his ability not to simply blow but play with lyrical purpose and direction as do all participants here. Rumba Pa' NYC is old school, music celebrating the time that culture filled the streets and the air with the rhythmic intoxication that is Cuban music. The wide range of influence from global sources is staggering. Yoruba Afro-Cuban prayer chant, mixed with a subtle splash of Regga; rumba; Afro-Moroccan Gnawa music merged with Brazilian grooves; and the West African Malian tones that balance the title track. The title track as much of the release itself, inspired by an arduous 30 hour bus trip the young Freedman took in Mali. Freedman's musical adventures have taken his prolific talents to West Africa, The Middle East and Cuba.Texture, timbre and tone but from the other musicians are the emphasis on this stunning release. Freedman does what the premier drummers do, he pushes the music to center stage and lets the ensemble play out while not remaining comfortable but owning the pocket. Phrasing, dynamics and harmonic placement are done with the ensemble in mind. At no time does Bamako By Bus become a self indulgent percussive bash fest any more than Feldman being something other than a human metronome.
A stellar work. One of the best releases for 2012. 5 Stars! http://www.criticaljazz.com/2012/04/daniel-freedman-bamako-by-bus-anzic.html

Personnel: 
Avishai Cohen – trumpet, Lionel Loueke – guitar and vocals, Jason Lindner – keyboards, Meshell Ndegeocello – bass, Omer Avital – acoustic bass (track 7), Daniel Freedman – drums, percussion, Pedrito Martinez, Abraham Rodriguez – vocals and percussion, Mark Turner – tenor saxophone.                                                                         

Bamako By Bus

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