Marcus Printup - UNveiled

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 64:13
Size: 148,0 MB
Art: Front

(6:41)  1. Eclipse
(6:15)  2. When Forever Is Over
(5:56)  3. Dig
(7:09)  4. Say It Again
(4:23)  5. Leave Your Name And Number
(6:42)  6. Unveiled
(5:44)  7. Stablemates
(7:39)  8. Soulful
(3:57)  9. M & M
(7:04) 10. Yes Or No
(2:38) 11. Amazing Grace

Marcus Printup gained his initial recognition for his playing with pianist Marcus Roberts' group. His second Blue Note recording as a leader features his attractive trumpet in a quintet with Roberts, the Paul Gonsalves-inspired tenor of Stephen Riley, bassist Reuben Rogers and the young drummer Jason Marsalis. Printup at this point already had a fairly orignal sound of his own which was slightly influenced by Wynton Marsalis. His technique is impressive on the date as is his warmth and consistently creative ideas. Printup contributed seven mostly straightahead originals to the well-rounded and continually interesting modern mainstream set (including the brooding ballad "When Forever Is Over," athe catchy "Leave Your Name And Number" and the funky title cut). "M & M," a major/minor blues duet with pianist Roberts which looks back to the 1920's, is a definite highlight. Printup also performs jazz standards by Miles Davis (a swinging "Dig"), Benny Golson and Wayne Shorter along with an emotional version of the traditional "Amazing Grace." This CD gives one an excellent sampling of Marcus Printup's hard bop-oriented playing. ~ Scott Yanow http://www.allmusic.com/album/unveiled-mw0000185728

Personnel:  Bass – Ruben Rogers;  Drums – Jason Marsalis;  Piano – Marcus Roberts;  Tenor Saxophone – Stephen Riley;  Trumpet – Marcus Printup

UNveiled

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Ken Navarro - Bonfire

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 61:09
Size: 142,7 MB
Art: Front

(4:58)  1. My Best Friend
(4:53)  2. Refuge
(5:30)  3. 4 Yawkey Way
(6:04)  4. Bar Lines
(3:58)  5. One Summer Day
(4:23)  6. Hammocks & Swings
(3:58)  7. You Have to Go Away to Come Back
(3:38)  8. Larriland
(7:53)  9. A Dozen Roses
(2:24) 10. Glen Echo
(4:12) 11. Soft Stuff
(4:28) 12. Machu Picchu
(4:44) 13. Bonfire

You know, there is no point in simply referring to Ken Navarro as a renowned guitarist any longer. This guy, who constantly proves his musical prowess on so many different instruments, again dazzles us with his multi-instrumentalism. Here on his new release Bonfire he composes on every traditional instrument imaginable from acoustic and electric guitars to drums to electric and acoustic bass, keys, and just on and on... including saxes and trumpets. Who needs a band when you are the band...and who better to know what you want than you? Bonfire is a potpourri of Navarro compositions, complete with what we have generally accepted as smooth jazz (Ken Navarro style) and more than a few nods to other styles and genres like fusion and world. For example, check out the moods and movements in A Dozen Roses. It s living art with so many moving pieces and parts... he s outdone himself here. There s also Bar Lines with its cool and intricate time signature and fusion feel. A classical approach using a woodwind quintet (flute, oboe, clarinet, French horn, and bassoon) for Glen Echo lends more diversity and insight into Navarro the innovator. These three alone let you know that Navarro just keeps evolving. Other tracks are more familiar looks at Navarro and are among my favorites here. They include the lead track My Best Friend, 4 Yawkey Way, the soothing One Summer Day, Soft Stuff, Machu Picchu, and the interesting combined Latin jazz flair and funk of Refuge. You will never ever be able to challenge Navarro s musicianship, his meticulous approach to music demanding perfection one amazing artist in that regard. Truly A+ work for such a bold, intricate, and sophisticated way of thinking and performing. ~ Ronald Jackson, The Smooth Jazz Ride - The Smooth Jazz Ride  - https://www.amazon.com/Bonfire-Ken-Navarro/dp/B01HN1A7NI

Bonfire

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Cannonball Adderley - Cannonball's Bossa Nova

Bitrate: MP3@320K/s

Time: 44:52

Size: 102.7 MB

Styles: Soul-jazz, Bossa Nova

Year: 1962/2000

Art: Front

[4:48] 1. Clouds

[2:19] 2. Minha Saudade

[6:40] 3. Corcovado (Quiet Nights)

[3:24] 4. Batida Diferente

[3:10] 5. Joyce's Samba

[4:56] 6. Groovy Samba

[7:45] 7. O Amor Em Paz

[3:31] 8. Sambop

[5:34] 9. Corcovado (Quiet Nights)

[2:40] 10. Clouds

A pleasant date recorded in late 1962 with South American musicians the Bossa Rio Sextet of Brazil. Cannonball is heard alongside Sergio Mendes on piano, future Weather Report percussionist Dom Um Romao, and featured on five cuts is Paulo Moura on alto saxophone with Pedro Paulo on trumpet. Unfortunately this release contains little fire, as Adderley didn't get much rehearsal time with these musicians. Combined with the repetitious nature of the Bossa Nova these proceedings can get tedious. This session was originally released on Riverside, but Adderley took several master tapes (including this one) when he made his move to Capitol. ~Al Campbell

Cannonball's Bossa Nova 

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Gretchen Parlato - S/T

Bitrate: MP3@320K/s
Time: 38:56
Size: 89.1 MB
Styles: Jazz vocals
Year: 2005
Art: Front

[4:20] 1. Skylark
[6:23] 2. Flor De Lis
[5:20] 3. Come To Me
[4:23] 4. Nonvignon
[5:03] 5. Ela E Carioca
[3:13] 6. Chega De Saudade
[5:38] 7. Benny's Tune
[4:33] 8. Juju Footprints

Gretchen Parlato has always operated from the premise that a whisper can be more powerful than a scream. Since winning the Thelonious Monk Institute International Vocal Competition in 2004, Parlato has been spellbinding audiences with her unerring ability to draw the listener into her sultry and sensual world through deft manipulation of dynamic range, often turning in her most alluring performances by enforcing an intimacy between listener and singer.

For Parlato, it´s all about the phrasing, the nuance, and the manipulation of the moment in real time. Her repertoire is as eclectic as the day is long, but whatever she happens to be tackling at any given moment bears the unmistakable mark of her own individuality.

Gretchen Parlato

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David Burns - Soledad

Bitrate: MP3@320K/s
Time: 39:43
Size: 90.9 MB
Styles: Guitar jazz
Year: 2016
Art: Front

[5:38] 1. As The Eye Can See
[4:51] 2. Overland Park
[3:34] 3. The Raver
[4:04] 4. A Harsh Reality
[2:44] 5. Three Sisters
[2:40] 6. Soledad
[5:23] 7. Rachel's Mom
[3:52] 8. Salad Days
[2:14] 9. Sermons In Steel
[1:52] 10. Sesquipedalia
[2:46] 11. One Small Voice

David Burns--Acoustic guitar; banjo on 'Sesquipedalia"; all voices on "Sermons in Steel.

A collection of finger-style acoustic guitar instrumentals composed and performed by Dave, designed to inspire and relax both the musician and the non-musician.

Soledad

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Wanda Sá & Menescal - Eu E A Musica

Bitrate: MP3@320K/s
Time: 44:33
Size: 102.0 MB
Styles: Brazilian jazz
Year: 2015
Art: Front

[2:56] 1. Wave
[3:43] 2. Como Uma Onda
[5:36] 3. Vagamente Triste Vivo Sonhando Brigas Nunca Mais
[3:56] 4. Chega De Saudade
[5:43] 5. Sábado Em Copacabana Rio Valsa De Uma Cidade Ela é Carioca
[2:48] 6. O Barquinho
[2:18] 7. Vocé
[2:40] 8. Telefone
[3:50] 9. À Sorrir
[3:36] 10. Tá Oquei
[2:43] 11. So Danço Samba O Pato
[4:38] 12. Bye Bye Brasil Aquarelo Do Brasil Isto Aqui O Que É

Roberto Menescal, a pioneer composer and performer of Bossa Nova, and his long-time partner Wanda Sa, offer a delightful selection of classic Brazilian jazz selections including some of Menescal's well-known compositions and those of the "grand master", Antonio Carlos "Tom" Jobim. Their guitars and voices blend wonderfully and create the light, breezy familiar style that has become their trademark. I have had the privlege of seeing and hearing them live and meeting them personally and I have found that the genuine warmth, Brazilian passion and friendliness they showed to me is conveyed effectively through their music. Though well-known in Brazil, many international audiences, especially in the U.S., Europe and Asia are only now discovering one of Brazil's greatest musical national treasures. Listen once, and you too will know that you have found something very special. ~DrPerman

Eu E A Musica

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Fred Wesley - New Friends

Bitrate: MP3@320K/s
Time: 65:53
Size: 150.8 MB
Styles: Jazz-Funk, Soul
Year: 1990
Art: Front

[5:25] 1. Rockin' In Rhythm
[2:24] 2. Honey Love
[5:57] 3. Bright Mississippi
[6:25] 4. The Love We Had (Stays On My Mind)
[9:53] 5. For The Elders
[6:23] 6. Plenty, Plenty Soul
[7:50] 7. Blue Monk
[5:59] 8. Peace Fugue
[5:49] 9. Eyes So Beautiful
[6:03] 10. Birk's Works
[3:39] 11. D-Cup And Up

Alto Saxophone, Percussion – Maceo Parker; Bass – Anthony Cox; Drums – Bill Stewart; Keyboards – Geri Allen; Tenor Saxophone, Soprano Saxophone, Percussion – Tim Green (3); Trombone – Fred Wesley, Robin Eubanks (tracks: 5, 8), Steve Turre (tracks: 5, 8); Trumpet, Flugelhorn – Stanton Davis; Vocals – Carmen Lundy (tracks: 4, 9).

Trombonist Fred Wesley, best-known for his long-term association with James Brown, has long expressed the desire to play jazz. This is mostly a jazz-oriented CD although he hedges his bets a little with "Honey Love" (which has a cute vocal by Wesley over a calypso groove), an R&B-ish Carmen Lundy vocal on "Love We Had Stays On My Mind," the ballad "Eyes So Beautiful" and the funky "D-Cup And Up." But on the other six numbers Wesley plays in a boppish style influenced most by J.J. Johnson and there is a suitable amount of solo space for altoist Maceo Parker (heard at his best when trying to emulate Hank Crawford), trumpeter Stanton Davis and a restrained but tasteful Geri Allen on piano. Highlights include "Rockin' In Rhythm," Thelonious Monk's "Bright Mississippi" and "Birks Works" on the mixed but generally enjoyable bag. ~Scott Yanow

New Friends

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Mark Turner - Yam Yam

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 71:30
Size: 166,1 MB
Art: Front

( 9:00)  1. Tune Number One
( 7:17)  2. Cubism
(10:47)  3. Yam Yam I
( 6:10)  4. Moment's Notice
( 7:07)  5. Isolation
( 9:59)  6. Subtle Tragedy
( 7:49)  7. Zürich
( 5:58)  8. Blues
( 7:20)  9. Yam Yam II

This early quintet outing is a strong showcase for Mark Turner the composer. It's also an important chapter in the special relationship between Turner and guitarist Kurt Rosenwinkel. The two would later work mainly in piano-less settings, but here they are joined by pianist Brad Mehldau, who adds his advanced harmonic insight to the session. One could rightly bill the record as "Turner and Rosenwinkel with the Brad Mehldau Trio," as the rhythm section consists of bassist Larry Grenadier and drummer Jorge Rossy, Mehldau's longtime collaborators. The disc boasts five strong Turner originals, including "Zurich," which would resurface on 2001's Dharma Days. (This version features guest tenorists Seamus Blake and Terrence Dean.) Rosenwinkel weighs in with "Cubism," a similar version of which he included on 2000s The Enemies of Energy. The two remaining non-Turner pieces are Mehldau's hard-swinging "Subtle Tragedy" and a bright five/four rendition of John Coltrane's "Moment's Notice." Yam Yam reveals much about the evolution of all these players, and is therefore well worth the attention of serious fans. ~ David R.Adler http://www.allmusic.com/album/yam-yam-mw0000188498

Personnel : Mark Turner, Seamus Blake, Terence Dean (tenor saxophone);  Brad Mehldau (piano);  Kurt Rosenwinkel (guitar);  Larry Grenadier (bass);  Jorge Rossy (drums).

Yam Yam

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Tierney Sutton - Unsung Heroes

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 57:26
Size: 131,8 MB
Art: Front

(7:38)  1. Remember Me (Recordame)
(5:53)  2. Early Autumn
(7:17)  3. A Timeless Place (The Peacocks)
(3:26)  4. Bernie's Tune
(8:30)  5. Spring Is Here
(3:40)  6. Joy Spring
(6:22)  7. All for One (Speak No Evil)
(4:41)  8. Indiana / Donna Lee
(4:28)  9. When Lights Are Low
(5:29) 10. Con Alma

While jazz enthusiasts mourn the loss of many of the members of the first generation of female jazz vocalists, their enthuasiasm doesn't seem to extend to many of the vocalists struggling, and in some cases, succeeding on today's scene. Dee Dee Bridgewater, Dominique Eade, Dianne Reeves, Vanessa Rubin, Karrin Allyson, and Nnennon Freelon, among others, come to mind. More's the pity. Each of these vocalists is creating her own style, disparate though it may be, and her own presence, in today's jazz scene. Now along comes Tierney Sutton, head of the jazz vocal department at the University of Southern California and a favorite or Buddy Childers. Having stepped out into her own with her first CD, "Introducing Tierney Sutton," Tierney Sutton now needs no introduction. Instead, she is extending her interests and her range. On "Unsung Heroes," Sutton has chosen some of her favorite jazz compositions, many of which were not intended for singing but instead consisted of instrumental arrangements of distinctive soloing. Fortunately, she has discovered words to these jazz classics and added her own distinctive style to express them with class and emotion. 

A soprano, Sutton really doesn't conform to the classic jazz singer mold of a lower-voiced performer with bent notes and bluesy emoting. Instead, she takes her craft seriously and delivers bright and uncannily on-pitch interpretations involving finely crafted phrasing or wordless accompaniment to instrumental solos. The most notable example is her version of Jimmy Rowles' "The Peacocks" (renamed "A Timeless Place" for the vocal version.) With difficult intervallic repetitions imitating natural sounds and unconventional melodic lines, Sutton not only understands the interpretive demands of the piece, but also reveals in her own way its timeless beauty. Her singing backed by Childers, other horn men and guitar on some selections, her choice of pianist Christian Jacob elevates the CD to a level above "tribute" and to "interpretation." Jacob knows his Tyner, that's for sure, and his densely chorded accompaniment and fluidity in soloing completes the picture for perceiving the inherent meaning and complexity of each tune. Rather than following in the footsteps of other singers, Sutton has followed her instincts to develop a style of her own that leverages her inherent, and impressive, talent. 

~ AAJ Staff https://www.allaboutjazz.com/unsung-heroes-tierney-sutton-telarc-records-review-by-aaj-staff.php?width=1920

Personnel: Tierney Sutton, vocals; Christian Jacob, piano; Trey Henry, bass; Ken Wild, bass; Ray Brinker, drums; Gary Foster, alto flute, alto sax; Buddy Childers, flugelhorn; Alan Kaplan, trombone; Jamie Findlay, guitar

Unsung Heroes

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Jeff Lorber - Private Passion

Styles: Guitar Jazz, Fusion
Year: 1986
File: MP3@320K/s
Time: 54:56
Size: 128,4 MB
Art: Front

(4:33)  1. Facts of love (with Karyn White)
(4:17)  2. True Confessions
(4:11)  3. Jamaica
(4:16)  4. Back In Love
(5:21)  5. Kristen
(4:20)  6. Private Passion
(5:36)  7. Sand castles
(5:04)  8. Keep On Lovin'
(5:21)  9. Midnight Snack
(6:50) 10. Facts of Love [Actuality Mix]
(5:02) 11. Facts of Love[Dub]

Jeff Lorber reached his commercial peak with Private Passion, an album that has more to do with urban contemporary singing than it does with instrumental pop-jazz. Because it features R&B singers so prominently, Private Passion is a perfect example of what Lorber meant when, in 1998, he complained that the mid-'80s found him becoming "a sideman on my own records." In the 1990s, the keyboardist would return to giving himself a lot of solo space, but on Private Passion, Lorber the soloist/instrumentalist isn't the main attraction. The main attraction is the R&B singing of Michael Jeffries and Karyn White, whose memorable performance on the single "Facts of Love" not only put her on the map in the R&B market, but also did a lot to make this album the big seller it was. Private Passion does contain a few pleasant, if unremarkable, pop-jazz/NAC instrumentals. Freddie Hubbard takes a melodic flügelhorn solo on "Kristen," while guitarist Larry Carlton is employed on the Caribbean-flavored "Jamaica." But on the whole, Private Passion leaves jazz fans out in the cold, although it's often impressive and rewarding from an urban contemporary standpoint. ~ Alex Henderson http://www.allmusic.com/album/private-passion-mw0000188465

Jeff Lorber (Guitar, Synthesizer); Robbie Buchanan (Synthesizer); Larry Carlton (Guitar); Howard "Buzz" Feiten, Dan Huff (Guitar); Freddie Hubbard (Flugelhorn); George Howard (Sax soprano); Bunny Hull (Vocals); Michael Jeffries (Vocals, Vocals Background); Evan Rogers, Carl Sturken (Vocals Background); Brock Walsh (Drum Programming); Karyn White (Vocals).

Private Passion

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Wayne Shorter - Night Dreamer

Styles: Saxophone Jazz 
Year: 1964
File: MP3@320K/s
Time: 48:04
Size: 111,0 MB
Art: Front

(7:17)  1. Night Dreamer
(6:52)  2. Oriental Folk Song
(7:08)  3. Virgo
(6:27)  4. Black Nile
(6:54)  5. Charcoal Blues
(6:20)  6. Armageddon
(7:02)  7. Virgo (Alternate Take)

By the time he made this recording, a few short months before he was to join Miles Davis' groundbreaking second quintet, saxophonist Wayne Shorter had already earned a reputation as a player combining heady intellectualism with a more visceral approach as a member of Art Blakey's Jazz Messengers. He'd also released four records for the Vee-Jay label that demonstrated how, while he'd learned a great deal with Blakey, he was developing his own voice, albeit still in the hard bop mode of his bandleader. But by the time Shorter recorded Night Dreamer, his first date for Blue Note, he'd gone through something of a change. With compositions that were sparer, and an equally economical playing style in direct contrast to John Coltrane's, Night Dreamer signalled a change without completely neglecting his hard bop roots. Despite a more cerebral method, Night Dreamer still swings hard, something that would hardly be a constant when he joined up with Miles a few months later. 

But, then again, how could any recording with the rhythm section of pianist McCoy Tyner, bassist Reggie Workman, and drummer Elvin Jones not swing? It's of particular note that the three had backed Coltrane as a unit until Workman was permanently replaced by Jimmy Garrison some time in '61. Coltrane would eventually push things so far out that Jones and Tyner would ultimately resign in '65, and it's clear by their performance on Night Dreamer that neither would have been comfortable in the freer style that Coltrane was moving towards. Meanwhile, Night Dreamer, which also features Blakey band mate Lee Morgan on trumpet, gives Shorter the opportunity to shift his focus away from the more straightforward hard bop of his early recordings, and towards a more open post bop sensibility. While harmonically challenging as most of Shorter's compositions were and still are to this day these six Shorter compositions adhered more rigidly to form than either his future work with Miles or his Blue Note recordings from later in the decade. And so, in a way, Night Dreamer is a transitional record, but a classic one nonetheless. While Shorter remained within more traditional boundaries, his sparer style, with every note considered and yet sounding unconsidered, was beginning to emerge. And while he would use the same rhythm section on the followup Ju-Ju, recorded four months later, by the end of '64 he would be using Miles bandmates pianist Herbie Hancock and bassist Ron Carter for Night Dreamer and, while continuing his approach towards even richer harmonic depth, would also begin a shift towards greater abstraction. As always, this Rudy van Gelder remaster edition brings greater life to the album, and it shows just how beautifully recorded it was in the first place, now that its nuances are more evident. While replacing one's entire collection with remasters is of questionable worth, these RVG Editions certainly make a strong case for doing so with one's Blue Note catalogue. ~ John Kelman https://www.allaboutjazz.com/night-dreamer-wayne-shorter-blue-note-records-review-by-john-kelman.php

Personnel: Lee Morgan (trumpet), Wayne Shorter (tenor saxophone), McCoy Tyner (piano), Reggie Workman (bass), Elvin Jones (drums)

Night Dreamer

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Jeremy Pelt - # Jive Culture

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 53:16
Size: 123,7 MB
Art: Front

(3:30)  1. Baswald's Place
(7:30)  2. Einbahnstrasse
(7:04)  3. Dream Dancing
(5:37)  4. A Love Like Ours
(7:28)  5. The Haunting
(5:42)  6. Rhapsody
(7:40)  7. Akua
(8:42)  8. Desire

Taking a more stripped-down approach than the expansive electric path he's been pursuing since 2013's Water and Earth, trumpeter Jeremy Pelt's 2016 album, #Jiveculture, is a visceral exploration of small-group post-bop. It's also Pelt's first album featuring legendary bassist and Miles Davis associate Ron Carter. Also joining Pelt here are longtime bandmates pianist Danny Grissett and drummer Billy Drummond. While Pelt has never completely eschewed swinging, harmonically challenging, straight-ahead jazz, his previous efforts, Water and Earth, Face Forward, Jeremy, and Tales, Musings, and Other Reveries were notable for their more experimental flourishes that combined Pelt's love of hip-hop and electronic dance music with his reverence for '70s-era jazz fusion, à la Miles Davis' Bitches Brew. For much of his career though, Pelt has excelled at the kind of organic, modal-based jazz that Davis played in the mid-'60s. This is the approach he takes on #Jiveculture and one that works perfectly with the addition of Carter, whose languid, supple bass style helped to define modern jazz. Here, Pelt and company dive headlong into a set of originals and lesser-played standards, including a jaunty take on Carter's own "Einbahnstrasse." Similarly compelling is the relaxed midtempo swinger "Dream Dancing," which brings to mind both mid-'50s Miles and '80s Wynton Marsalis. Davis is also evoked on the angular "The Haunting" and the lyrical, sad-eyed ballad "Akua," with Pelt utilizing a plaintive Harmon mute. Ultimately, while #Jiveculture is a more stripped-down, traditional jazz production than Pelt's previous releases, it's also one of his more densely packed, flowing with harmonic and melodic ideas that are all the more striking when set against the straight-ahead framework of a quartet. ~ Matt Collar http://www.allmusic.com/album/jiveculture-mw0002903911

# Jive Culture

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Martin Sasse Trio & Charlie Mariano - Good Times

Bitrate: MP3@320K/s
Time: 64:51
Size: 148.5 MB
Styles: Contemporary jazz
Year: 2010
Art: Front

[ 6:34] 1. Estate
[ 6:10] 2. Yours Is My Heart Alone
[ 5:11] 3. Goodbye Pork Pie Hat
[ 4:57] 4. My Funny Valentine
[ 5:04] 5. Doxy
[ 5:59] 6. I Thought About You
[ 6:08] 7. Stella By Starlight
[ 6:16] 8. Randy
[10:33] 9. My Foolish Heart [live]
[ 7:56] 10. Good Times [live]

Bass – Henning Gailing; Drums – Hendrik Smock; Alto Saxophone – Charlie Mariano; Piano – Martin Sasse. Recording information: Kinodrom, Bocholt (03/13/2003); Topaz Studios, Köln, Germany (03/13/2003); Kinodrom, Bocholt (04/16/2006); Topaz Studios, Köln, Germany (04/16/2006).

This 2006 recording features alto saxophonist Charlie Mariano, a restless innovator who spent the last decades of his life living in Europe. 'Good Times' is his last studio recording (he died in 2009 at the great age of 85) and he is backed by the trio of pianist Martin Sasse, who is one of Germany's leading jazz musicians.

Good Times

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Kenny Rankin - The Kenny Rankin Album

Bitrate: MP3@320K/s
Time: 34:55
Size: 80.0 MB
Styles: Soft rock, Adult contemporary
Year: 1976/2008
Art: Front

[3:03] 1. A House Of Gold
[2:35] 2. Here's That Rainy Day
[2:59] 3. Make Believe
[3:28] 4. On And On
[3:50] 5. You Are So Beautiful
[4:11] 6. Groovin'
[4:42] 7. While My Guitar Gently Weeps
[2:59] 8. When Sunny Gets Blue
[4:23] 9. I Love You
[2:40] 10. Through The Eye Of The Eagle

Long before Linda Ronstadt, Natalie Cole, and countless other pop, rock, and soul artists attempted to cover standards, Kenny Rankin did it and with excellent results. Enlisting the arranging talents of Don Costa (Frank Sinatra), Rankin created a lush, romantic album that also maintains the mellow vibes of '70s singer/songwriter pop. Rankin succeeds beautifully, tackling such evergreens as "Here's That Rainy Day" and "When Sunny Gets Blue." In addition, without interrupting the mood, he does beautiful readings of more contemporary artists, such as Stephen Bishop on "On and On," and particularly the Rascals on "Groovin." His moody and heartfelt rendition of "While My Guitar Gently Weeps," his second recording of the song, demonstrates once more his ability to adopt Beatles songs as his own. Of all the R&B, rock, and pop artists to work with orchestras interpreting the great American songbook, few have matched the originality and fine results of this release. ~Stephen J. Matteo

The Kenny Rankin Album

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Ari Hoenig - Lines Of Oppression

Bitrate: MP3@320K/s
Time: 62:25
Size: 142.9 MB
Styles: Straight ahead jazz
Year: 2011
Art: Front

[11:28] 1. Lines Of Oppression
[ 9:35] 2. Arrows & Loops
[ 5:03] 3. Wedding Song
[ 1:42] 4. Rhythm
[ 3:52] 5. Rythm-A-Ning
[ 8:44] 6. Moanin'
[ 6:49] 7. Love's Feathered Nails
[ 4:03] 8. Ephemeral Eyes
[ 4:47] 9. How High The Moon
[ 6:16] 10. Higher To Hayastan

Ari Hoenig: drums, vocals; Tigran Hamasyan: piano, vocals, beat box; Gilad Hekselman: guitar, vocals; Orlando Le Fleming: bass (1, 3, 5-8); Chris Tordini: bass (2, 9, 10), vocals.

When Bill Evans began building trios that represented a collaboration of equals rather than soloist accompanied by rhythm section, it's unlikely the late pianist could have envisioned the way Jean-Michel Pilc, bassist Francois Moutin and drummer Ari Hoenig wowed fans at a 2011 Ottawa International Jazz Festival performance. Bringing new meaning to the phrase "egalitarian," each and every member was clearly capable of pushing the music in a new direction, so keenly attuned were they to each other. Hoenig, in particular, seemed a mad instigator, grinning fiercely as he pushed his elbow down on his snare hard, turning it from a percussion instrument into one actually capable of melody.

Not that the concept is new, but Hoenig has honed a bit of showmanship shtick into something musical, taking it to the next step on his own Lines of Oppression, where he becomes the lead instrument on Bobby Timmons' classic "Moanin'"—nearly beyond belief, as he ekes notes as blue as they'd sound on a horn. Settling back into a more conventional role as purveyor of a loose swing groove, he passes the baton to guitarist Gilad Hekselman, who demonstrates increasing distance from his earlier touchstone, Kurt Rosenwinkel, with carefully chosen notes, overdriven but in a warm, almost ethereal way. Pianist Tigran Hamasyan's next, and though capable of lithe flights of fancy—and a musical mélange that often brings his own Armenian roots into the equation—in the context of this blues, he demonstrates a deeper appreciation of the tradition, starting with Count Basie-like economy, but gradually picking up steam as his solo, an encyclopedia of jazz piano, gradually unfurls.

There's also a reading of Thelonious Monk's oft-covered "Rhythm-a-ning," delivered with Carl Stalling-like wryness before breaking into a middle section where Hekselman and Hamasyan go at it, head-to-head, for one of the album's more exciting moments. Monk's influence is also felt on a trio version of "How High the Moon," featuring Hamasyan and bassist Chris Tordini, who subs for regular bassist Orlando le Fleming here and on two other tracks, including the pianist's idiosyncratic, rock-edged set-closed, "Higher to Hamasyan."

The rest of the album comes from Hoenig's pen, accounting for two-thirds of its 60-minute duration, the majority of that slice occupied by just two compositions—the quirkily polyrhythmic title track, featuring an early bar-raising solo from Hekselman, and the even knottier "Arrows & Loops," with its preponderance of accented shots amidst a dervish-like melody, leading to Hamasyan's set-defining solo, a combination of choppy voicings and fluid, serpentine melodies. "Wedding Song" proves Hoenig isn't averse to lyricism, though its bittersweet melody seems paradoxical to the song's title.

Whether taking the lead on "Rhythm"—his a capella solo and vocalizations a North American variant on the Indian konnakol tradition—or acting as perpetual rhythmic instigator, Hoenig leads his group democratically, not unlike his work with Pilc and Moutin. Lines of Oppression may feature Hoenig's name on the marquee—and it's clearly his vision driving the group's overall direction—but it's unequivocal that this is a quartet of equals, driven moment-by-moment by the unfettered expressionism of everyone involved. ~John Kelman

Lines Of Oppression

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David Weiss - When Words Fail

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 61:22
Size: 141,6 MB
Art: Front

(7:52)  1. The Intrepid Hub
(8:11)  2. When Words Fail
(6:45)  3. Mj
(8:37)  4. Wayward
(5:01)  5. White Magic
(8:30)  6. Loss
(7:18)  7. Lullaby for a Lonely Child
(9:05)  8. Passage Into Eternity

"Where words fail, music speaks." Jana Herzen, head of Motema Music, shared this Hans Christian Anderson quote with David Weiss after the trumpeter had already titled his new record; the sentiment of that statement just happens to perfectly connect with this album. In 2013, loss seemed to hover around Weiss, his friends, and the jazz community at large. So, when faced with the cruel realities of life and death, Weiss did what any artist of great character and strength would do: he let his music speak his feelings. When Words Fail is a tribute album, but better not to call it that, for it doesn't look to eulogize a single individual, paint pictures of sadness, or dwell on a particular state of mind. Instead, it comes off as cathartic art, celebrating musical brotherhood and life in general. Over the years, Weiss has earned much critical praise and respect for his ambitious and wide-ranging work with The New Jazz Composers Octet, his support and championing of trumpeter Freddie Hubbard during that icon's last years, explorations with his Point Of Departure band, burn-and-drive work with The Cookers, and reworkings of saxophonist/composer Wayne Shorter's music. In those situations, Weiss wore many hats, serving as composer, arranger, leader, supporter, and situation-maker. Here, he does the same, but he also serves as the emotional power source for this music. When Words Fail may be the most direct and personal record Weiss has ever released.

The album opens with Weiss' tribute to Hubbard "The Intrepid Hub." Right away, Weiss makes it clear that this is more about joy than sadness, as Hubbard's aggressive, hard-driving qualities come through in the music. The title track is dedicated to bassist Dwayne Burno, who passed away shortly after recording this album. His jaunty bass sets the song in motion. Other album high points include the inquisitive and probing "Loss," a nod to Herzen, who lost her father in 2013, and "Passage Into Eternity," dedicated to saxophonist Jimmy Greene and his family, who lost Ana Grace Marquez-Greene in the horrific and senseless Sandy Hook massacre. Rather than focus on the sadness surrounding this event, Weiss seems to focus on reflection, the honoring of life, and looking toward what comes after. Life and loss are inextricably linked, but that doesn't make it any easier to accept. When Words Fail, without obsessing on gloom or focusing solely on silver linings, takes an honest look at that fact. ~ Dan Bilawsky https://www.allaboutjazz.com/when-words-fail-david-weiss-motema-music-review-by-dan-bilawsky.php
 

Personnel: David Weiss: trumpet; Myron Walden: alto saxophone; Marcus Strickland: tenor saxophone; Xavier Davis: piano; Dwayne Burno: bass; E.J. Strickland: drums; Ben Eusen: guitar (3, 8).

When Words Fail

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Tierney Sutton - Dancing In The Dark: Inspired By The Music Of Frank Sinatra

Styles: Jazz, Vocal
Year: 2004
File: MP3@320K/s
Time: 55:03
Size: 126,5 MB
Art: Front

(5:42)  1. What'll I Do
(2:48)  2. Only The Lonely
(3:24)  3. I'll Be Around
(5:49)  4. All The Way
(5:03)  5. I Think Of You
(3:13)  6. Where Or When
(5:12)  7. Without A Song
(4:54)  8. I Could Have Told You
(5:52)  9. Emily
(3:22) 10. Last Night When We Were Young
(4:16) 11. Fly Me To The Moon
(5:24) 12. Last Dance/Dancing In The Dark

Tierney Sutton's latest Telarc release celebrates the music of Frank Sinatra not the ring-a-ding-ding, devil-may-care, wise-cracking leader of the Rat Pack who was the epitome of hipness and bravado, but, as Sutton observes in the liner notes, the "dark corners" of Sinatra's work that she finds "endlessly compelling." The mood is hushed, sentimental and pensive as Sutton places her indelible stamp on such heart-wrenching Sinatra classics as "Only the Lonely," "I'll Be Around," "Last Night When We Were Young," and others. Sutton's voice, soft and smoky, is perfectly suited to the balladic repertoire, and her readings, albeit unlike Sinatra's, as well they should be, are nonetheless apt and persuasive. She is ably supported by pianist Christian Jacob, bassist Trey Henry, and drummer Ray Brinker, with whom she has worked for more than a decade. A string orchestra, conducted by Jacob, has been added on five numbers. I don't know whose idea that was, but it does little to enhance the performance, and I much prefer the seven tracks on which Sutton and the trio are on their own. 

Among the latter, Sutton is especially warm and seductive on "Only the Lonely," "I'll Be Around," "I Could Have Told You," and "Last Night When We Were Young." It should be noted that she is no less captivating on a handful of songs whose connection to Sinatra is more tenuous, including "What'll I Do," "I Could Have Told You," "Emily," and the Rachmaninoff-based melody "I Think of You." The finale, with strings attached, is a well-designed medley of Sammy Cahn/Jimmy van Heusen's "Last Dance" and Howard Dietz/Arthur Schwartz's "Dancing in the Dark," a lovely way to end an impassioned and essentially delightful homage to one of the twentieth century's meistersingers, Frank Sinatra, who was known and admired by his legions of fans simply as "the voice." 

~ Jack Bowers https://www.allaboutjazz.com/dancing-in-the-dark-tierney-sutton-telarc-records-review-by-jack-bowers.php

Personnel: Tierney Sutton, vocals; Christian Jacob, piano; Trey Henry Bass; Ray Brinker, drums; Christian Jacob, piano. On tracks 1, 4, 5, 7, 12, orchestra conducted by Jacob -- Peter Kent, concertmaster; Vladimir Polimatidi, Gina Kronstadt, Kathleen Robertson, Sharon Jackson, Susan Chatman, Erica Walczak, Kirstin Fife, Eddie Stein, Barbra Porter, Cameron Patrick, Juliann French, violin; Margot Aldcroft, Harry Shirinian, Jorge Moraga, Lynn Grants, viola; Larry Corbett, Armin Ksakajikian, Audy Stein, cello; Brad Kintscher, horn; Gary Foster, flute.

Dancing In The Dark: Inspired By The Music Of Frank Sinatra

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Howard Alden - Take Your Pick

Styles: Guitar Jazz
Year: 1996
File: MP3@320K/s
Time: 61:41
Size: 142,3 MB
Art: Front

(7:05)  1. I Concentrate On You
(7:02)  2. U.M.M.G. (Upper Manhattan Medical Group)
(6:48)  3. House Party Starting
(4:25)  4. Warm Valley
(5:59)  5. The Gig
(4:53)  6. My Funny Valentine
(7:16)  7. Sweet And Lovely
(6:55)  8. You're My Thrill
(6:35)  9. How Deep Is The Ocean?
(4:40) 10. After All

Although best-known for his work in mainstream swing settings, guitarist Howard Alden has long been interested in later periods of jazz. On this superior outing, he doubles on seven-string acoustic and electric guitars (which allow him to add basslines). Lew Tabackin is on four of the ten numbers (three on tenor, one on flute) and pianist Renee Rosnes appears on six songs (including a duet with Alden on "Warm Valley"), while bassist Michael Moore and drummer Bill Goodwin are on seven. Alden takes "My Funny Valentine" and "After All" as unaccompanied solos but it is his meetings with Tabackin, particularly on exciting versions of two complex Herbie Nichols songs ("House Party Starting" and "The Gig") that are most notable. Recommended. ~ Scott Yanow http://www.allmusic.com/album/take-your-pick-mw0000089860

Personnel: Howard Alden (acoustic & electric guitars); Lew Tabackin (tenor saxophone, flute); Renee Rosnes (piano); Michael Moore (bass); Bill Goodwin (drums).

Take Your Pick

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Rotem Sivan Trio - A New Dance

Styles: Guitar Jazz
Year: 2015
File: MP3@320K/s
Time: 45:27
Size: 104,6 MB
Art: Front

(5:35)  1. A New Dance
(1:03)  2. Sun & Stars
(4:51)  3. Angel Eyes
(3:55)  4. One for Aba
(4:06)  5. Yam
(5:22)  6. I Wish You Were Here
(6:52)  7. In Walked Bud
(2:13)  8. Almond Tree
(4:09)  9. Fingerprints
(7:18) 10. I Fall in Love Too Easily

You can only imagine the hurricane-like storm of hyperbole that accompanies every new release by every single fresh young jazz artist on today's scene. We are promised, every time, that the artist in question (...always immensely-talented) is a "musical genius" and "true innovator" who is going to "transform the jazz world as we know it." The only thing such purple prose engenders in me is a healthy sense of skepticism. You hear such stuff once, twice, a million times and when you get the goods, the disappointment instantly sets in. But, hey, the hype might start a conversation, or it may make one wax philosophical, or it may simply sell CDs. What the hype machine cannot consider is that some young artists may appear on the scene as fully-formed musical giants, while others may need a few albums under their belt to hit their stride. Still others might need a formative experience as a sideman under the wings of an established artist, and others might simply slip quietly into lives that don't involve being the next big thing in the jazz world.  All of this is worth mentioning because the release of For Emotional Use Only (Fresh Sound New Talent, 2014), the second album by Israeli-born guitarist Rotem Sivan, was accompanied by the usual intensely glowing corona of hype; a sure sign that somewhere, a publicist was sleeping soundly at night. And that album was quite good, a bit derivative perhaps, but Sivan seemed to be a name to watch. Fleet-fingered, harmonically-rich, and with a "pure jazz" guitar concept derived from the likes of John Abercrombie, Jim Hall, and Tal Farlow, Sivan had just enough left-field stuff going on to stand out a bit from the hoi polloi.

Sivan's convictions come to far greater fruition on A New Dance; an album with a hype-fulfilling surfeit of passion, individualism, charm, and unadulterated jazz sweat. A New Dance succeeds, in part, on sheer group chemistry. Sivan wisely retained the services of the gifted young Israeli bassist Haggai Cohen Milo. Their sparkling, inventive and energetic interactions with new drummer Colin Stranahan are catalytic; taking Sivan's music to a whole 'nother level. The proof is in the trio's work with the standard repertoire. "Angel Eyes" a bluesy ballad traditionally given a slow-burn. late-night vibe is convincingly cast in a completely different light. Cohen-Milo takes the melody over Sivan's rapidly strummed chords as Stranahan's cymbals ease in. The focus abruptly shifts, and the energy level goes way up, as Sivan takes the lead and Stranahan prods and pokes with off- centered fills and accents that increase the tension and swing like hell. The trio take Thelonious Monk's classic "In Walked Bud" to new places as well. Here, Sivan's understated spontaneity seems almost childlike as the trio slowly immerses itself into Monk's world. Again, Sivan swaps leads with Cohen- Milo, but the result is an intense trio conversation that invites the listener to lean forward and anticipate the next change. Most startling of all is Oded Tzur's impossibly breathy saxophone intro to "I Fall In Love Too Easily." It took me a full minute to figure out what was going on. What follows is pure jazz ballad lushness.

Sivan's excellent originals comprise the bulk of this album and, while they draw on a surprisingly diverse musical palette, their focus is unswervingly jazz-oriented. Both "One for Aba" and "Yam" are lovely lead sheet-type tunes that draw on the ethnic music of Sivan's native land. The title track is restlessly inventive and sunny in the vein of Pat Metheny's Bright Size Life (ECM Records, 1976), while "I Wish You Were Here" is an effortless ballad that frames a dark, woody solo by the immensely-talented Cohen-Milo. The biggest departure is the set's lone vocal number, "Almond Tree," an easygoing slice of the singer-songwriter pie that seems incongruous couched amongst Sivan's brainy, highly detailed jazz guitar creations. Singer Daniel Wright, firmly in the mellow, reflective style of Michael Franks and Kenny Rankin, acquits himself quite well. "Fingerprints," by contrast, is a fast-paced tune that could be classified as a "burner" if it wasn't rife with a dizzying variety of modulations, twists, turns and pauses. Here, Stranahan carries the day: his playing is virtuosic yet preserves that magical happy-go-lucky spirit of fun. Jazz is fun!  So, yeah, the hype may be right on the money regarding Rotem Sivan. 

~ Dave Wayne https://www.allaboutjazz.com/a-new-dance-rotem-sivan-fresh-sound-new-talent-review-by-dave-wayne.php
 

Personnel: Rotem Sivan: guitar; Colin Stranahan: drums; Haggai Cohen-Milo: bass; Daniel Wright: voice (8); Oded Tzur: tenor saxophone (10).

A New Dance

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Joshua Redman & Brad Mehldau - Nearness

Styles: Saxophone And Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 73:32
Size: 168,4 MB
Art: Front

( 8:38)  1. Ornithology
(10:55)  2. Always August
( 9:56)  3. In Walked Bud
(12:36)  4. Mehlsancholy Mode
(16:44)  5. The Nearness of You
(14:40)  6. Old West

Nearness finds acclaimed jazz saxophonist Joshua Redman and pianist Brad Mehldau teaming up for a set of loose yet heartfelt duo performances. Collaborators since they first began playing together in Redman's quartet in the early '90s, Mehldau and Redman have forged their own distinct solo careers. While they have continued to work together in various settings, the duo put a spotlight on their creative friendship with their 2011 tour. Nearness features live performances captured during the European leg of that tour, including tapings in Spain, Switzerland, the Netherlands, Germany, and Norway. These are dazzlingly collaborative performances that reveal Redman and Mehldau to be a highly intuitive and harmonically adroit team. While there are a handful of original compositions here, the pair also tackle several jazz standards, including a brisk, kinetic reading of Charlie Parker's "Ornithology" and a laid-back if no less invigorating take on Thelonious Monk's "In Walked Bud." Elsewhere, they take a similarly inventive approach on several originals, including Redman's warmly burnished "Mehlsancholy Mode" and Mehldau's skipping, bluesy "Old West." What makes these recordings so engaging is the way Mehldau and Redman play off each other, dancing around the melody, weaving in and out of the harmony like rambunctious birds sparring over scattered seed. It's a conversational style that comes off as both a game of hot potato and let's finish each other's sentences. Sometimes, as on "Ornithology," it almost sounds as if Redman starts a song one way and then Mehldau switches up the conversation, taking them down a wholly alternate route. Other times, as in Mehldau's poignantly rendered "Always August," they build a detailed musical architecture, their nuanced improvisational lines forming ascending and descending stairways, grandly domed halls, and hidden dulcet nooks. ~ Matt Collar http://www.allmusic.com/album/nearness-mw0002959309

Personnel:  Joshua Redman (saxophone)  Brad Mehldau (piano)

Nearness

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