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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Peggy Lee - Basin Street East Proudly Presents Miss Peggy Lee

Bitrate: MP3@320K/s
Time: 31:31
Size: 72.2 MB
Styles: Jazz vocals
Year: 1961/2011
Art: Front

[1:44] 1. Day Out
[2:59] 2. Moments Like This
[2:54] 3. Fever
[3:06] 4. The Second Time Around
[2:55] 5. Medley (One Kiss My Romance The Vagabond King Waltz)
[2:40] 6. I Got A Man
[0:20] 7. Peggy Lee Bow Music
[2:41] 8. Call Me Darling
[2:43] 9. I Love Being Here With You
[2:51] 10. But Beautiful
[1:51] 11. Them There Eyes
[3:19] 12. A Tribute To Ray Charles Just For A Thrill
[1:22] 13. Peggy Lee Bow Music-Exit

Bass – Max Bennett; Bongos – Chino Pozo; Congas – Chino Pozo; Drums – Stan Levey; Flute – Bob Donovan; Guitar – Dennis Budimir; Harp – Abe Rosen; Piano – Joe Harnell; Trombone – Mickey Gravine, Ray Desio; Trumpet – Danny Stiles, Phil Sunkel, Willie Thomas. Recorded live at Basin Street East in an after-hours performance with an invited audience on February 9 and at a New York studio on March 8, 1961.

This is a lesser Peggy Lee release. Originally it was planned that the singer (at the height of her popularity) would record a live set at Basin Street East in New York. Unfortunately, she caught a cold and her voice was a bit hoarse, so some of the numbers were re-recorded in the studio the following month and spliced quite effectively into the set. However, whether in concert or not, the performances here are rather routine with no chances taken (the dozen sidemen do not get a single solo), and everything sounds pretty well planned in advance. Lee, who is best here on the ballads, never wanders at all from the melodies, and these renditions of her usual repertoire have nothing unique or unusual to offer except perhaps an overly rapid version of "Fever." ~Scott Yanow

Basin Street East Proudly Presents Miss Peggy Lee

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Bobby Lyle - Rhythm Stories

Bitrate: MP3@320K/s

Time: 58:55

Size: 134.9 MB

Styles: Piano jazz

Year: 1994

Art: Front

[5:20] 1. Cool Walk

[4:58] 2. Here We Go Again

[5:14] 3. On The Spot

[5:50] 4. B's Mood

[5:14] 5. Junk Street

[5:05] 6. Higher Ground

[5:45] 7. Exotic Love

[5:25] 8. Don't You Know

[5:14] 9. Tonight We Love

[5:25] 10. Anthem

[5:18] 11. Love Suite

Bass – Reggie Hamilton, Marcus Miller; Drums, Programmed By – Sonny Emory; Guitar – Dwight Fills, Carl Burnette, Paul Jackson, Jr.; Keyboards – Bobby Lyle; Percussion – Lenny Castro; Saxophone – Everette Harp; Vocals – Darryl Phinnessy, Dorian Holly, Fred White,Ali Rock, Bobby Lyle, Exhibit, Robin Lyle, Thomas Lyle.

Bobby Lyle's success since the release of 1989's classic Ivory Dreams has been due chiefly to his astonishing ability to combine acoustic piano elegance with relentlessly funky grooves, always on the same album, often on the same cut. That album's juxtaposition of "Lush Life" and "Loco-motion" offers a great case in point. While Lyle draws brightly on tradition, he loves to go wild and urban any time he gets a chance, yet while most of his albums since then have been solid, he has never seemed to measure up to the promise of that auspicious debut. "Pianomagic," a collection of piano solos, in particular missed the mark. No such trouble these days. The subtitle of one of the feistier tracks on Lyle's endlessly electric Rhythm Stories "jazz hip-hop funky bebop, " perfectly summarizes the multi-faceted keyboardist's range and influences. On his most satisfying and eclectic outing to date, he alternates bass-driven soul that won't quit with artsier, romantic musings, fusing synergetic ensemble lightning with quieter reflections. When not limiting himself to his premier weapon, those magical 88s, he enjoys toying with a wide variety of keyboard sounds, most notably the organ effects on two dashing Stevie Wonder covers. "Higher Ground" and "Here We Go Again" offer a flair of familiarity, but are only two of the reasons to buy this genre-transcending collection. A melodic ace, Lyle saves his memorable hooks for slick ballads like "Exotic Love," while leaving ample openings on the jams for each member of his "who's who" ensemble room to expand, grow, whet their chops, etc. Jazz-meets-hip-hop projects usually possess a certain canned, synthetic production sheen about them, so Lyle also merits gold stars for the extraordinarily live sound he achieves blowing with every cat from Kirk Whalum and Gerald Albright to Marcus Miller and Stanley Clarke, among a cast of thousands. OK, why not mention a few more -- Everette Harp, Paul Jackson, Jr., Sonny Emory, and Peter White. ~Jonathan Widran

Rhythm Stories    

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George Colligan - Past-Present-Future

Bitrate: MP3@320K/s
Time: 63:05
Size: 144.4 MB
Styles: Piano jazz
Year: 2005
Art: Front

[9:42] 1. Sophisticated Lady
[7:14] 2. Akatumbo
[6:14] 3. East Of The Sun
[6:36] 4. This Nearly Was Mine
[6:31] 5. Past Present Future
[5:20] 6. Three Views Of A Secret
[7:13] 7. Cinema Paradiso
[4:21] 8. Holiday For Strings
[3:04] 9. Body And Soul
[6:46] 10. Invitation

With a string of recordings for Fresh Sound and Steeplechase, George Colligan established himself as one of the strongest new pianists in jazz. His first Criss Cross outing, Ultimatum (2002), focused exclusively on original material. On the followup, Past-Present-Future, only the title track is original—and a memorable one at that. The slant toward covers is atypical for Colligan (save for 2000's Stomping Ground), but it confirms his ability to make personal statements via standards and not-so-standards. Bassist Vicente Archer and drummer Bill Stewart are new to the Colligan discography but complement one another and know how to stir up trouble. ~David Adler

Past-Present-Future

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Carl Fontana - The Fifties

Bitrate: MP3@320K/s
Time: 65:13
Size: 149.3 MB
Styles: Trombone jazz
Year: 2010
Art: Front

[ 1:06] 1. Intro Blues
[ 3:04] 2. Lester Leaps In
[ 0:17] 3. Where's Charlie Ventura
[ 4:51] 4. Ballad Medley If You Could See Me Now Come Back To Sorrento
[ 3:59] 5. Intermission Riff
[11:44] 6. Daniel's Blues
[ 6:51] 7. Scrapple From The Apple
[ 7:56] 8. Buhaina
[ 9:23] 9. Ballad Medley These Foolish Things You Go To My Head Darn That Dream
[ 3:09] 10. Polka Dots And Moonbeams
[ 2:28] 11. Soon
[ 6:02] 12. Polka Dots And Moonbeams
[ 4:18] 13. Carl

Trombonist Carl Fontana spent the early part of his career playing with a number of different big bands, including groups led by Lionel Hampton, Woody Herman, and Stan Kenton, the latter being the leader with whom he grew his reputation. Tiring of travel, he settled in Las Vegas playing commercial music for several decades (still taking time out for some brief tours with jazz bands), though he started leading jazz gigs and occasionally recording as a leader beginning in the '80s. This compilation comes from several different radio and television broadcasts plus some studio dates. The first set features Fontana leading a quintet with tenorist Vido Musso (a last-minute substitute for an injured Charlie Ventura). Fontana easily outshines Musso with his effortless but brief rapid-fire solo in "Lester Leaps In," while each man takes half of a ballad medley as an individual feature. Several numbers feature Fontana with members of the Kenton band plus pianist Henri Renaud. Fontana's intricate solo in Charlie Parker's "Scrapple from the Apple" is humorous at times, while Horace Silver's soulful "Buhaina" showcases trumpeter Dickie Mills and the trombonist. Fontana is the featured player in two selections with the Jimmy Cook Big Band, playing a powerful solo in "Polka Dots and Moonbeams" buoyed by Bill Holman's richly textured arrangement and adding some pep to an already breezy "Soon." The final two tracks showcase Fontana in concert with Kenton in Berlin playing two Bill Holman charts, including "Polka Dots and Moonbeams" and the arranger's own "Carl.""Polka Dots and Moonbeams" and the arranger's own "Carl." These vintage recordings from 1956 to 1960 are of surprising audio quality, making them essential for fans of the late Carl Fontana, who succumbed to Alzheimer's disease in 2003. ~Ken Dryden

The Fifties

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Branford Marsalis - Requiem

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 69:38
Size: 160,1 MB
Art: Front

( 6:07)  1. Doctone
( 8:24)  2. Trieste
(10:39)  3. A Thousand Autumns
( 9:40)  4. Lykief
( 6:37)  5. Bullworth
( 9:36)  6. Elysium
( 8:49)  7. Cassandra
( 9:43)  8. 16th St. Baptist Church

For ten years or so, since Crazy People Music back in 1990, Branford Marsalis has steered well clear of the definitive in Jazz. He's played sax with Sting, Tina Turner, and Gangstarr, led Jay Leno's Tonight Show band, toured with Dizzy, made movies with Danny De Vito, recorded Blues-based albums starring B B King and Lightnin' Hopkins, hosted an illuminating and influential National Public Radio Jazz programme in the US, even subbed for David Murray in the World Saxophone Quartet. What he has steadfastly refused to do is go back and revisit the piano-and saxophone led quartet that formedhis first solo outfit afetr leaving brother Wynton's band in the mid-Eighties. And now, after reuniting with pianist Kenneth D Kirkland, whose outstanding work on Marsalis' Royal Garden Blues and Renaissance in the eighties fueled the saxophonist's bid for independence from his family's long shadow, we have a glimpse into a future that might have been. Kirkland's untimely death earlier this year came just weeks after these sessions were recorded (at the very end of 1998), and before the mixing process could sweeten or cloud the ideas and passion that drove his playing. As a result, there's an audible directness and unity of purpose in their co-leadership of the Quartet that leaves me yearning for more and then remembering how lucky we are to have these eight tunes.

These are Kirkland's last recorded dates, and they do him proud. Kenny always played like a fountain - throwing gusts and arcs of music up into the wind, defying gravity or melancholy, always singing a kind of musical "ain't this fun" - and from the very first rhythm statement on Requiem his spirit swaggers across the soundstage. Written by Marsalis to elaborate one of Kirkland's signature sounds, his swinging comping behind singers and soloists from pop to classical, "Doctone" also sets out the Quartet's stall - liquid, effortless technique set free over charts that encompass bop, post-bop, fusion, pop and swing. From this seductive beginning the warm, bear-hug muscular tone Kirkland and Marsalis adopt leaves room for bassist Eric Revis to double-time his way into the limelight without ever sounding forced or frantic, and as the band slide into a post-Jarrett interpretation of Paul Motian's Trieste that's redolent of North African sunsets and late-night navy town rumbles, their undoctored versatility shines through. The call to prayer, the call to arms and the call of love for sale are all in here, and Kirkland's sizzling technique in an extended solo tempts drummer Jeff Watts into one of his kitchen sink bravura workouts, as Branford slips smoothly in alongside.

Then a lyrical, complex and spacious reworking of A Thousand Autumns, a tune Marsalis originally wrote for Wayne Shorter, carries enough mood changes to soundtrack a short film, as Kirkland's romanticism is alternately spiked by Tain's evocative percussion, or soaked in dark rum by Marsalis. British ears will then be delighted by the astonishing Lykief - a sly Abdullah Ibrahim-style fusion of Township and Modern Jazz that lets the band's voices chase an irresistible melody around three or four distinct rythyms based on the same tempo. It's a little like strolling down a bush path between tropical villages, each playing its own version of a beloved party tune.This is where Marsalis says he most wants his music to stand - a living, growing fusion style that builds empathy with the audience while challenging and reinventing forms at the same time. Take his rocksteady approach on Bullworth. From a distance listen out for the Joe Sample simple infectiousness of the melody, and a lick or tow of high-style technique over a foursquare fusion groove. It's so kicking that it may take a couple of outings to hear the 7/4 tempo that crops up unannounced, or the jigsaw interplay between Tain's itching drums and Kirkland's barroom, gut-bucket piano. Three more originals from Marsalis flesh out a Spring must-buy. Branford has stepped two back to go three forward, and brother Delfeayo's practised, supportive production has pulled together a fitting last statement from Kirkland. There is no early warning of his death on these tracks, just the sound of a hot, creative musician flourishing in a hot, creative environment, captured largely live on analogue 24-track. The liner notes confess that the bass was nearly (but not) DI'ed, and Dolby SR snuck in on the two most spacious ballads. Tiny compromises that add, not diminish, a fine set that will keep supplying pleasure for years to come. An tribute worth hearing, particularly because it captures so cheerfully the energy, versatility and vitality of a much-missed man. ~ Ian Nicolson https://www.allaboutjazz.com/requiem-branford-marsalis-columbia-records-review-by-ian-nicolson.php

Personnel:  Branford Marsalis – Saxophones;  Eric Revis, bass;  Jeff "Tain" Watts, drums;  Kenny Kirkland, piano (all tracks except "Elysium")

Requiem

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Stacy Sullivan - West On 40

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 44:22
Size: 102,1 MB
Art: Front

(4:20)  1. A Long, Good Night
(3:18)  2. Dreaming
(3:00)  3. Goodbye Don't Get Any Better Than This
(4:00)  4. I Feel The Earth Move
(3:01)  5. Simple Twist Of Fate
(5:12)  6. I Hate To See You Go
(0:51)  7. Why Walk (Intro)
(3:33)  8. Why Walk When You Can Fly
(3:23)  9. Trying To Do The Right Thing
(3:25) 10. Make It Look Easy
(3:58) 11. Night Life
(4:00) 12. How Little We Know
(2:15) 13. Everyday

"West On 40" is a completely original, dynamic recording by one of the most talented singers in America today, Stacy Sullivan. It brings together some of the greatest musicians of our time, including legendary blues guitarist Robben Ford, the incomparable Geroge Doering, Jimmy Zavola and Gary Ferguson. Stacy Sullivan is an American beauty, as lovely on the inside as she is on the outside. Her emotion-filled voice is a window into her compassionate, passionate soul. Discover Stacy Sullivan before she becomes a household name. She is that good…and her live performances are not to be believed! ~ Editorial Reviews https://www.amazon.com/West-40-Stacy-Sullivan/dp/B0002IQNCY

"...Sullivan has a lovely voice - pure and smoky..." ~ All Music Guide

"...one of the Top Ten Recordings Of 2004...not a single track that does not display her stamp..." ~ Sound Advice

"Stacy Sullivan has an engaging approach to lyrics that make every song compelling..." ~ Backstage

West On 40

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