Jason Palmer - Nothing To Hide

Styles: Trumpet Jazz
Year: 2010
File: MP3@256K/s
Time: 69:04
Size: 127,2 MB
Art: Front

( 7:57)  1. Fly Little Bird Fly
(12:37)  2. Nothing To Hide
( 6:55)  3. LaRue
(11:41)  4. The Gigolo
( 7:12)  5. Strength And Sanity
( 6:20)  6. Here And Now
( 7:47)  7. Luana
( 8:31)  8. Half Nelson

Jazz trumpeter Jason Palmer is a forward-thinking musician with a bent toward adventurous and cerebral post-bop. A native of High Point, North Carolina, Palmer studied his craft at the New England Conservatory in Boston. While there, Palmer was also a regular at the highly regarded Boston club Wally's Cafe, where he first sat in on jam sessions and later joined the house band. Since graduating from college, Palmer has performed with a variety of name musicians including drummer Roy Haynes; saxophonists Benny Golson, Greg Osby, and Ravi Coltrane; guitarist Kurt Rosenwinkel; and many others. In 2007 Down Beat magazine named him one of the Top 25 Trumpeters of the Future. A year later, Palmer released his debut solo album, Songbook, on Ayva Music. In 2009 Palmer won first prize in the Carmine Caruso International Jazz Trumpet Solo Competition. That same year, he starred in the independent musical film Guy and Madeline on a Park Bench, in which he played a jazz trumpeter. In 2010 he released his sophomore effort, Nothing to Hide, on SteepleChase Records. A year later, he returned with the album Here Today, featuring saxophonist Mark Turner. In 2012 Palmer delivered his fourth studio album, Take a Little Trip, featuring reworkings of songs by legendary soul singer Minnie Riperton. ~ Matt Collar https://itunes.apple.com/us/artist/jason-palmer/id274301941#fullText

Personnel:  Jason Palmer trumpet;  Mike Thomas alto saxophone;  Greg Duncan guitar;  Lim Yang bass;  Lee Fish drums

Nothing To Hide

---

Jonah Jones – Muted Jazz

Styles: Vocal And Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 30.43
Size: 72.90MB
Art: Front

(2:28)  1. 01. Rose Room.mp3
(3:02)  2. 02. Mack The Knife.mp3
(2:42)  3. 03. I Can't Get Started.mp3
(2:39)  4. 04. On The Street Where You Live.mp3
(4:39)  5. 05. Undecided.mp3
(4:52)  6. 06. St James Infirmary.mp3
(2:40)  7. 07. Too Confort For Comfort.mp3
(2:48)  8. 08. The Man With The Golden Arm.mp3
(2:42)  9. 09. My Blue Heaven.mp3
(3:11) 10. 10. Royal Garden Blues.mp3

In 1957, trumpeter Jonah Jones hit it big with his version of "On the Street Where You Live," twhich is included on this LP. Jones' "muted jazz" featured melodic but swinging versions of standards played with a shuffle beat by his quartet nightly at the Embers, and he would keep the attractive  if eventually predictable  formula alive into the late 1960s. In addition to "On the Street Where You Live," this best-selling record has such numbers as "Rose Room," "Undecided," "Too Close for Comfort" and "Royal Garden Blues" played in delightful fashion. 

https://itunes.apple.com/au/album/muted-jazz/id529474590

Personnel:  Jonah Jones (Trumpet, Vocal)

muted jazz

---

Dickie Wells - Trombone Four-In-Hand

Styles: Trombone Jazz
Year: 1958
File: MP3@320K/s
Time: 39:04
Size: 89,9 MB
Art: Front

(3:39)  1. Blue Moon
(6:32)  2. Airlift
(3:56)  3. It’s All Over Now
(5:30)  4. Wine-o Junction
(6:35)  5. Heavy Duty
(6:25)  6. Short, Tall, Fat And Small
(6:24)  7. Girl Hunt

Dickie Wells is one of the most important swing trombonists, though he is better known for his work as a sideman than as a leader. But when he got the occasional opportunity to lead a record date, which was all too infrequent, he made the most of it. Wells' second LP for the English label Felsted, which was reissued by the American label Master Jazz during the 1970s, was produced by Stanley Dance and also features three additional trombonists: Vic Dickenson, Benny Morton, and George Matthews. The rhythm section is just as strong, with pianist/organist 

Skip Hall, either Kenny Burrell or Everett Barksdale on guitar (the latter is also heard on electric bass), bassist Major Holley, and drummer Herbie Lovelle. Following a bluesy arrangement of "Blue Moon," the only standard of the date, the band really begins to loosen up. Spirited solos and tight horn ensembles are common features throughout most of the session, with the leader's lively "Wine-o Junction" and his saucy blues "Heavy Duty," which features a terrific guitar solo by Barksdale which especially standing out. Wells and Dickenson share the vocals in the hilarious "Short, Tall, Fat and Small." This first-rate record is long overdue to be reissued on CD, though the Master Jazz edition of the LP is far easier to acquire than the original version. ~ Ken Dryden http://www.allmusic.com/album/trombone-four-in-hand-mw0000879115

Personnel:  Vic Dickenson, George Matthews, Benny Morton, Dickie Wells (trombone) Skip Hall (piano, organ) Kenny Burrell (guitar) Everett Barksdale (bass) Herbie Lovelle (drums)

Trombone Four-In-Hand

---

Wynton Kelly - Comin' In The Back Door

Bitrate: MP3@320K/s
Time: 27:42
Size: 63.4 MB
Styles: Bop, Piano jazz
Year: 1963/2011
Art: Front

[2:36] 1. If That's The Way You Want It
[2:23] 2. Comin' In The Back Door
[2:09] 3. Don't Wait Too Long
[2:42] 4. Nocturne
[2:06] 5. The Bitter End
[2:09] 6. Burke's Law Theme
[3:11] 7. Quiet Village
[3:00] 8. Caesar And Cleopatra Theme
[2:29] 9. Signing Off
[2:38] 10. Little Tracy
[2:14] 11. To Kill A Mockingbird

Wynton Kelly - piano; Kenny Burrell - guitar (tracks 1, 3-6 & 8-11); Paul Chambers - bass; Jimmy Cobb - drums; Claus Ogerman - string arrangement, conductor (tracks 1-3, 6-9 & 11).

Comin' in the Back Door is an album by jazz pianist Wynton Kelly released on the Verve label featuring performances by Kelly with Paul Chambers and Jimmy Cobb with guitarist Kenny Burrell and an orchestra recorded in 1963.

Comin' In The Back Door

---

Sylvia Vrethammar & Rune Gustafsson - Something My Heart Might Say

Bitrate: MP3@320K/s
Time: 51:27
Size: 117.8 MB
Styles: Vocal & guitar jazz
Year: 1999/2014
Art: Front

[4:21] 1. Something My Heart Might Say
[1:38] 2. Just In Time
[2:37] 3. I'll Never Get Myself Another Face
[2:28] 4. You Must Be Crazy
[3:10] 5. How High The Moon
[3:55] 6. Teach Me Tonight
[1:09] 7. Nice Work If You Can Get It
[3:06] 8. Smile
[1:38] 9. Between The Devil And The Deep Blue Sea
[2:51] 10. Sweet Georgie Fame
[2:34] 11. Daydream
[4:05] 12. The Nearness Of You/You Are Thw Sunshine Of My Life
[3:29] 13. A Fine Romance
[2:21] 14. If You Should Ever Leave Me
[2:16] 15. Oho-Aha
[2:37] 16. Diamonds Are A Girl's Best Friend
[1:32] 17. Strangers In The Night/-L-O-V-E
[3:50] 18. Isn't It Romantic
[1:42] 19. Aquarela Do Brasil

There was something very special with the voice of this female singer when I first heard a couple songs from this album without knowing who she was. The swell honest phrasing, superb vocal control, not to mention the charm of execution in unison with a playful chic jazz guitarist. Surprising as it turned out that my unknown musicians are two famous Swedish artists; Sylvia Vrethammar and Rune Gustafsson. For international jazz enthusiasts who do not know these two excellent musicians, a little introduction; Sylvia Vrethammar is a singer of popular music, standards and jazz. She is best known for the 1974 song, "Y Viva España". It reached #4 in the UK Singles Chart in September 1974. Rune Gustafsson is a well-known jazz guitarist and composer, known for numerous recordings and concerts with the likes of Ed Thigpen, Putte Wickman, Arne Domnérus, Jon Christensen, Kjell Øhman, Zoot Sims and Toots Thielemans.

"Something My Heart Might Say" gives you the best of harmony vocals and guitar only, never gets boring even when the two are without any support from other instruments throughout the album and finally by a fine collection of musical gems from 'The Great American Songbook'. All the tunes you've heard before, but maybe not so naked and vulnerable as here when the nuances come out more clearly in a challenging format for the two musicians. All the 17 tunes running on the album are highlights; my personal picks for listening over-and-over again are the album title tune "Something My Heart Might Say", the seldom played "I'll Never Get Myself Another Face", Blossom Dearie's lovely "Sweet Georgie Fame" and finally Billy Joel's immortal "Just the Way You Are". Rune Gustafsson is the perfect partner for Sylvia Vrethammar on this album, an excellent accompanist and playful soloist in this challenging format. As always from Four Leaf Clover Records, sound quality is excellent and particularly the vocal recorded are of the highest audible quality. Highly recommended album! ~Terje Biringvad

Something My Heart Might Say

---

Roberto Menescal - The Classics: Guitarra

Bitrate: MP3@320K/s
Time: 41:19
Size: 94.6 MB
Styles: Guitar jazz, Bossa Nova
Year: 1997/2013
Art: Front

[3:38] 1. Love Letters
[4:26] 2. Smile
[4:32] 3. All The Things You Are
[3:15] 4. Makin' Whoopee
[3:34] 5. My Romance
[3:32] 6. How High The Moon
[3:05] 7. Manhattan
[3:22] 8. Take Five
[4:03] 9. Sophisticated Lady
[3:53] 10. Moon River
[3:55] 11. Night In Tunisia

The Classics Guitarra . Um jazz suave e elegante. É a trilha sonora ideal para relaxar e entrar na viagem de melodias inesquecíveis como Moon River, Smile, All The Things You Are e etc. Sem longos improvisos, e com a formação de um quarteto de músicos virtuosos (com Roberto Menescal), podemos dizer que o The Classics vai agradar a todos, inclusive aqueles que não estão familiarizados com o Jazz, pois as músicas são inesquecíveis!

The Classics: Guitarra

---

Susan Marshall - Firefly

Bitrate: MP3@320K/s
Time: 37:16
Size: 85.3 MB
Styles: Adult alternative, Easy Listening
Year: 2005
Art: Front

[4:03] 1. Hard To Get Along With
[2:25] 2. Undecided
[4:49] 3. How The Mighty Have Fallen
[3:34] 4. Dirty Work
[4:05] 5. Cry Me A River
[3:16] 6. Everything You Had
[4:20] 7. God Bless The Child
[3:47] 8. Crazy Love
[3:16] 9. What'll I Do
[3:36] 10. When It Glows

In a city of singing legends, from Elvis Presley and Otis Redding to Al Green and Aretha Franklin, Memphis vocalist Susan Marshall proudly holds her own, an award-winning paragon of hometown talent. While she might not be a household name yet, anyone who has listened to Lenny Kravitz, the Afghan Whigs or Lynyrd Skynyrd has heard Marshall's impressive singing chops, a gift that never fails to stop people in their tracks.

Marshall grew up in East Memphis where she studied art, theater and voice at Germantown High School's prestigious Fine Arts Department, earning Fine Art Student of the Year as a senior. A six-year stint with the Off-Broadway Rep Company's Light Opera of Manhattan followed. Hired as a lyric soprano, she perfected mezzo roles in such productions as the operettas Rose-Marie and The Desert Song. Marshall's resume now boasts studio and/or stage time with the likes of Lenny Kravitz, Norah Jones, Keith Richards, Primal Scream, Lynyrd Skynyrd, Mavis Staples, Greg Dulli and the Afghan Whigs, Mya, The Memphis Horns, The Doobie Brothers, Dionne Warwick, Jerry Butler, the North Mississippi Allstars, Alvin Youngblood Hart, Steve Earle, Ann Peebles, Jay Farrar, Jim James of My Morning Jacket, Adam Levy, Jim Lauderdale, Todd Snider, John Doe, Emerson Hart of Tonic, and many others. She's also worked with such legendary engineer/producers as Tom Dowd, Chips Moman, Jim Dickinson, John Hampton, Joe Hardy, Dusty Wakeman and Jeff Powell. Whether it's rock, blues, soul, country or jazz, Marshall -- who won Best Female Vocalist in 2003 from the Grammy organization's Memphis chapter -- gets the call for a reason. And with her latest album, Susan Marshall Is Honey Mouth, earning raves across the country, including the Philadelphia Weekly's summation of the CD as a "stunning showcase of some truly standout Tennessee pipes," Marshall the performer and songwriter is also a woman ready to lead Memphis with a breakout musical vision.

Firefly

---

The Ventures - 2 albums: Twist With The Ventures / The Ventures' Twist Party Vol. 2

Like many Ventures albums, these records are quite uneven, filled with competent covers of familiar rock and pop hits of the era. Everything is given the familiar, reverb-heavy Ventures treatment, but some choices don't work nearly as well as others and the twist theme wears thin by the end of each record. In other words, it's a set that's primarily of interest to collectors and hardcore fans.~Stephen Thomas Erlewine

Album: Twist With The Ventures
Bitrate: MP3@320K/s
Time: 25:02
Size: 57.3 MB
Styles: Instrumental rock
Year: 1961/1995
Art: Front

[1:53] 1. Driving Guitars (Ventures' Twist)
[1:41] 2. The Twist
[2:24] 3. Road Runner
[2:29] 4. Gringo
[2:18] 5. Moon Dawg
[2:17] 6. Guitar Twist
[1:45] 7. Opus Twist
[2:01] 8. Movin' & Groovin'
[2:05] 9. Sunny River
[2:12] 10. Let's Twist Again
[1:35] 11. Shanghied
[2:15] 12. Bumble Bee Twist (The Wasp)

Twist With The Ventures

---

Album: The Ventures' Twist Party Vol 2
Bitrate: MP3@320K/s
Time: 24:56
Size: 57.1 MB
Styles: Instrumental rock
Year: 1962/1995
Art: Front

[1:45] 1. My Bonnie Lies
[2:14] 2. Twisted
[2:17] 3. The Twomp
[2:06] 4. Besame Mucho
[1:49] 5. Blue Tail Fly
[1:57] 6. Swanee River Twist
[1:52] 7. Instant Guitars
[2:16] 8. Dark Eyes Twist
[2:13] 9. Counterpoint
[2:02] 10. Kicking Around
[2:18] 11. Bluebird
[2:02] 12. Red Wing Twist

The Ventures' Twist Party Vol 2

---

Zoot Sims - Suddenly It's Spring

Bitrate: MP3@320K/s
Time: 43:46
Size: 100.2 MB
Styles: Bop, Saxophone jazz
Year: 1983/1992
Art: Front

[4:18] 1. Brahms...I Think
[7:09] 2. I Can't Get Started
[4:13] 3. Macguffie's Blues
[6:12] 4. In The Middle Of A Kiss
[5:27] 5. So Long
[4:57] 6. Never Let Me Go
[5:38] 7. Suddenly It's Spring
[5:49] 8. Emaline

Bass – George Mraz; Drums – Akira Tana; Piano – Jimmy Rowles; Tenor Saxophone – Zoot Sims. Recorded May 26, 1983, at the RCA Studios, New York City

This CD reissue of one of tenor-saxophonist Zoot Sims's final recordings adds a version of "Emaline" to the original program. Pianist Jimmy Rowles often co-stars on the date (with bassist George Mraz and drummer Akira Tana offering solid support). The lyrical repertoire emphasizes ballads and pretty melodies with the highpoints including such offbeat material as Woody Guthrie's "So Long," Sims's "Brahms...I Think," "In the Middle of a Kiss" and the more familiar "Never Let Me Go" and "Suddenly It's Spring." The melodic performances are quite warm, romantic and enjoyable, fine examples of subtle creativity. ~Scott Yanow

Suddenly It's Spring

---

Kenny Wheeler - Dream Sequence

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 66:33
Size: 152,4 MB
Art: Front

(13:45)  1. Unti
( 6:29)  2. Drum Sequence
( 5:11)  3. Dream Sequence
( 9:35)  4. Cousin Mary
( 7:06)  5. Nonetheless
( 7:46)  6. A Flower Is A Lovesome Thing
( 4:52)  7. Hearken
(11:47)  8. Kind Folks

The latest edition to trumpeter/flugelhornist Kenny Wheeler's discography commences with variable pulses and emphatic horn charts on "Unti." But while this production launches with an up-tempo groove, the majority of this set simply corresponds to the wistful implications set forth by the album title. 

Recorded during several visits to London's Gateway Studio spanning 1995 to 2003, Wheeler performs solely on flugelhorn, along with a core sextet separating into duo, trio, and quintet consortiums. Simply stated, the great flugelhornist is a weaver of dreams! Featuring alto saxophonists Ray Warleigh, Stan Sulzmann, guitarist John Parricelli and others, the group delves into ethereally executed blues motifs and airy dreamscapes. Warleigh's misty flute work and Parricelli's mid-toned electric guitar voicings on "Nonetheless" propose a vibe that might suggest a trouble-free world. The dreaminess continues with a sublime quartet rendition of Billy Strayhorn's ballad "A Flower is a Lovesome Thing." Here, Wheeler's yearning lines bespeak a sense of solitude, marked by wraithlike overtones. Wheeler and his musical associates project a dirge-like momentum on "Kind Folks." However, they equalize the rhythmic aspects via positive intimations by quietly soaring skyward. In sum, the musicians project a velvety soundscape supplanted by warmly stated choruses and keenly articulated soloing spots. (Highly recommended...) ~ Glenn Astarita https://www.allaboutjazz.com/dream-sequence-kenny-wheeler-psi-review-by-glenn-astarita.php

Personnel: Ray Warleigh, alto saxophone & flute; Stan Sulzmann, tenor saxophone; Tony Levin, drums; Kenny Wheeler, flugelhorn; John Parricelli, guitar; Chris Laurence

Dream Sequence

---

Julie London - For the Night People

Styles: Vocal Jazz

Year: 1966

File: MP3@320K/s

Time: 33:46

Size: 78,6 MB

Art: Front

(2:27)  1. Won't You Come Home, Bill Bailey

(4:00)  2. I Got It Bad (And That Ain't Good)

(2:30)  3. Saturday Night (Is The Loneliest Night In The Week)

(3:18)  4. God Bless The Child

(3:32)  5. Am I Blue

(2:28)  6. Dream

(3:15)  7. Here's That Rainy Day

(3:13)  8. When The Sun Comes Out

(3:22)  9. Can't Get Out Of This Mood

(2:51) 10. I Hadn't Anyone Till You

(2:44) 11. I'll Never Smile Again

After 1959's excellent Julie...at Home, a small-group West Coast session cut in her own living room, Julie London's albums became increasingly orchestral and less jazzy during the first half of the '60s. While many of these albums are excellent (particularly Around Midnight), most weren't up to her best recordings from the 1950s. Then, in 1965 something changed, and stripped-down jazz backings reappeared on her albums until her notorious final disc went soft rock with a vengeance in 1969. For this album, the West Coast arranger and bass player Don Bagley combines an excellent jazz trio with subtle string charts that never swamp the intimate feeling of the disc. London came to fame by recording stripped-down sessions with just guitar and bass, so it makes sense that on For the Night People, an unidentified jazz guitarist gets to solo throughout the album. A typically low-key and melancholy session, standout tracks include a languid reading of the usually manic "Won't You Come Home Bill Bailey" and two songs made famous by Frank Sinatra "Saturday Night (Is the Loneliest Night in the Week)" and "I'll Never Smile Again." This album is a must-have for Julie London fans and thankfully she worked with Bagley again on the more upbeat but no-less-languid Nice Girls Don't Stay for Breakfast, which keeps the guitar heard here, but after the title track replaces the strings with a jazz organ and horn. ~ Nick Dedina http://www.allmusic.com/album/for-the-night-people-mw0000848778

For the Night People

---

Ralph Sutton Trio - Home Again

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 64:25
Size: 149,7 MB
Art: Front

(5:07)  1. St. Louis Blues
(5:57)  2. Mean To Me
(4:54)  3. Crazy Rhythm
(4:32)  4. Fine And Dandy
(3:34)  5. I Want A Little Girl
(4:10)  6. On The Sunny Side Of The Street
(4:23)  7. Farewell Blues
(3:31)  8. Brother, Can You Spare A Dime?
(6:42)  9. Georgia On My Mind
(5:40) 10. Ain't Misbehavin'
(3:52) 11. S'posin'
(3:32) 12. Don't Let The Sun Catch You Cryin'
(5:15) 13. Basin Street Blues
(3:10) 14. Honky Tonk Train

This CD may very well contain the final recordings by Ralph Sutton, who died just over a year after these concerts in St. Louis, which included a rare opportunity to record with his sister, Barbara Sutton Curtis. Eight of the numbers feature the twin pianists, fueled by bassist Keter Betts and drummer Frank Capp. Appropriately enough, a hard-driving "St. Louis Blues" is the potent introduction. The quartet also glides through a lightly swinging "On the Sunny Side of the Street," a very playful "Ain't Misbehavin'" (complete with the all too often omitted verse), and a take-no-prisoners up-tempo romp through Meade Lux Lewis' boogie-woogie classic "Honky Tonk Train." 

Barbara, who is nowhere near as well known as her famous brother, is clearly no slouch at the piano; her features include a poignant "Brother Can You Spare a Dime?" and a well-crafted solo take of "Don't Let the Sun Catch You Cryin'." Ralph glides effortlessly through "Fine and Dandy," "Farewell Blues," and "S'posin." Fans of stride piano and classic jazz will definitely want to snap up this thoroughly delightful live CD. ~ Ken Dryden http://www.allmusic.com/album/home-again-mw0000658296

Personnel: Ralph Sutton (piano); Barbara Sutton-Curtis (piano); Frank Capp (drums).

Home Again

---

Dickie Wells & Rex Stewart - Chatter Jazz

Styles: Trombone And Cornet Jazz
Year: 1959
File: MP3@320K/s
Time: 31:25
Size: 72,8 MB
Art: Front

(2:34)  1. Little Sir Echo
(2:13)  2. Together
(2:23)  3. Let's Call The Whole Thing Off
(2:17)  4. Gimme A Little Kiss, Will Ya, Huh?
(3:07)  5. Show Me The Way To Go Home
(2:28)  6. Frankie And Johnny
(2:53)  7. Let's Do It (Let's Fall In Love)
(3:12)  8. I May Be Wrong ( But I Think You're Wonderful)
(2:06)  9. Thou Swell
(2:45) 10. Side By Side
(2:52) 11. Ain't We Got Fun ?
(2:30) 12. Jeepers Creepers

These 1959 sessions paired two potent soloists, trumpeter Rex Stewart (an alum of Duke Ellington's band) and trombonist Dickie Wells (a veteran of Count Basie's orchestra). Backed by pianist John Bunch, bassist Leonard Gaskin, and drummer Charlie Masterpaolo, the two horn players exchange ideas through a series of "conversations" utilizing various mutes, never going for very long without giving time to the other. These friendly studio dates are somewhat low-key but consistently swinging; the only drawback is that the tracks are rather brief, with only two of the 12 songs exceeding three minutes. Highlights include their humorous exchanges in "Let's Call the Whole Thing Off" and "Show Me the Way to Go Home" (featuring some fine stride piano by Bunch). This long unavailable RCA Victor LP is extremely hard to find. ~ Ken Dryden http://www.allmusic.com/album/chatter-jazz-mw0000901126

Personnel:  Bass – Leonard Gaskin;  Cornet – Rex Stewart;  Drums – Charlie Masterpaolo;  Piano – John Bunch;  Trombone – Dickie Wells

Chatter Jazz

---

Joey DeFrancesco - Ballads And Blues

Bitrate: MP3@320K/s
Time: 61:32
Size: 140.9 MB
Styles: Bop, Soul jazz
Year: 2002
Art: Front

[6:13] 1. Get It All
[6:15] 2. These Are Soulful Days
[6:33] 3. Take The Coltrane
[6:36] 4. You Don't Know What Love Is
[5:34] 5. Jammin' In The Basement
[7:40] 6. Home On The Range
[7:23] 7. Ceora
[5:17] 8. Basin Street Blues
[4:02] 9. Mama Don't Allow No
[5:52] 10. That's All

Don't be fooled by the title. While Ballads and Blues may sound like a mellow batch of tunes to listen to while strolling in the park, the ever-soulful Joey DeFrancesco has something else in mind. The album takes off with "Get It All," a groovy piece of funk complete with Paul Bollenback's zesty guitar and Byron Landham's balanced backbeat. A steady, rocking groove also defines pieces like "Take the Coltrane" and "Jammin' in the Basement." The latter cut, in particular, emanates a good vibe, perhaps due to the presence of brother John DeFrancesco on guitar and Papa John DeFrancesco on a second B-3. Other guests include Pat Martino and saxophonist Gary Bartz on two tracks each. At least two pieces, "Home on the Range" and "Mama Don't Allow No," suggest that DeFrancesco has been hanging out with genre-bending guitarist Bill Frisell. And while soul-jazz renditions of folk songs may sound like a strange mix, every cut flows together in a lovely mesh of organ, guitar, and drums. DeFrancesco ends the album in a flourish by adding his smooth, rich vocals to "That's All." While his fans probably will not wait for a recommendation to pick up Ballads and Blues, everyone else will find the album a good introduction to organ music for the new millennium. ~Ronnie D. Lankford Jr.

Ballads And Blues

---

Gal Costa - Plural

Bitrate: MP3@320K/s
Time: 45:45
Size: 104.7 MB
Styles: Latin jazz
Year: 1990
Art: Front

[2:46] 1. Salvador Não Inerte Ladeira Do Pelô
[3:36] 2. A Verdadeira Baiana
[4:14] 3. Begin The Beguine
[3:01] 4. Fon-Fon
[4:15] 5. Eu Acredito
[4:11] 6. Holofotes
[3:34] 7. Cabelo
[5:03] 8. Brilho De Beleza
[3:44] 9. Alguém Me Disse
[3:01] 10. Nua Idéia (Leila Xii)
[3:31] 11. Zanzando
[4:43] 12. I Didn't Know What Time It Was

Held in very high regard in Brazilian music circles, Gal Costa has been impressively consistent over the years. And the charismatic singer was in excellent form when she greeted the 1990s with Plural. Though Costa isn't a jazz singer per se, she uses jazz influence to her advantage on caressing versions of the standards "I Didn't Know What Time It Was" and "Begin the Beguine" (which was a major hit for Artie Shaw during the swing era). Costa sings mostly in Portuguese, but switches to English for those standards. While they favor the type of relaxed introspection one expects from bossa nova, Costa is much more exuberant and upbeat on the reggae-influenced "Cabelo," the Caribbean-minded "Zanzando," and the percussive "Salvador Nao Inerte" (a fine example of the Bahian school of Brazilian pop). Plural demonstrates that the dedicated following she commands is well deserved. ~Alex Henderson

Plural

---

Pat Boone - The Best Of Pat Boone

Bitrate: MP3@320K/s
Time: 29:41
Size: 68.0 MB
Styles: Vocal pop
Year: 2000
Art: Front

[2:23] 1. Ain't That A Shame
[2:58] 2. I'll Be Home
[2:36] 3. I Almost Lost My Mind
[2:54] 4. Friendly Persuasion
[2:17] 5. Don't Forbid Me
[2:11] 6. Love Letters In The Sand
[2:39] 7. April Love
[2:05] 8. A Wonderful Time Up There
[2:33] 9. It's Too Soon To Know
[1:53] 10. Sugar Moon
[2:35] 11. Moody River
[2:31] 12. Speedy Gonzales

Pat's huge hits for Dot Records, all of them Top 10 and six #1s: Love Letters in the Sand; I Almost Lost My Mind; April Love; Ain't That a Shame; Don't Forbid Me; Moody River; Speedy Gonzales; Sugar Moon , and more.

The Best Of Pat Boone

---

Jimmy Bruno, Joe Beck - Polarity

Bitrate: MP3@320K/s
Time: 58:33
Size: 134.1 MB
Styles: Guitar jazz
Year: 2000
Art: Front

[4:31] 1. How Long Has This Been Going On
[4:29] 2. Lazy Afternoon
[4:05] 3. Polarity
[4:08] 4. I've Grown Accustomed To Her Face
[5:09] 5. Eleanor Rigby
[5:55] 6. Estate
[3:43] 7. Summertime
[4:16] 8. Tenderly
[4:45] 9. Carioca Blue
[4:03] 10. Emily
[4:12] 11. I Don't Stand A Gost Of A Chance With You
[4:10] 12. Cherokee
[5:00] 13. Poem For #15

Veteran guitarists Joe Beck and Jimmy Bruno work well together and share an appreciation of beautiful sound as applied to jazz's mainstream. Most of the feature work is from Bruno, 46, who plays a seven-string guitar. Beck, 54, plays an instrument of his own creation. His alto guitar is tuned down a fifth and offers the artist a means for providing both bass line and accompaniment. Tone quality remains of paramount importance throughout the duo session.

"Summertime" moves at a lively tempo and becomes a fast-fingered clinic for Bruno's dexterous hands. Unfortunately, the flying fingers and urgent mood have eroded the piece's sentimental spirit. While his interpretation is unique, the standard "Summertime" carries its own set of familiar elements. The duo's arrangement takes some getting used to. Similarly, "Emily" loses much of its familiar lingering lyricism as the duo takes it up-tempo with a bouncing rhythm.

Beck has created harmonic bossa arrangements for most of the album's selections. They're lively and serve to demonstrate Bruno's superb technique. "Cherokee," accustomed to this kind of blazing-fast tempo, appears here as an up-tempo waltz. It's quite appropriate, and both guitarists seem quite comfortable with the situation. Joe Beck has one solo feature, "Tenderly." On it, he caresses the lyrical melody with slow, well-thought-out chords that preserve the ballad's original meaning. His one solo interlude, also chorded, appears during the romantic "Estate'" with a fresh improvised twist on a lovely tune.

Limiting the selections to under five minutes in the context of blazing-fast Jimmy Bruno guitar epithets, Polarity brings the listener variety and good, clean guitar adventures. ~Jim Santella

Polarity

---

Lee Morgan Quintet - Take Twelve

Styles: Trumpet Jazz
Year: 1962
File: MP3@320K/s
Time: 48:16
Size: 111,2 MB
Art: Front

(6:52)  1. Raggedy Ann
(5:00)  2. A Waltz For Fran
(8:31)  3. Lee-Sure Time
(7:50)  4. Little Spain
(4:59)  5. Take Twelve
(7:30)  6. Second's Best (take 5)
(7:30)  7. Second's Best (take 1)

Take Twelve was trumpeter Lee Morgan's only recording during an off-period that lasted from mid-1961 to late 1963. Morgan (who sounds in fine form) leads a quintet with tenor saxophonist Clifford Jordan, pianist Barry Harris, bassist Bob Cranshaw and drummer Louis Hayes through four of his originals, Jordan's "Little Spain," and the title cut, an Elmo Hope composition. The superior material uplifts the set from being a mere "blowing" date but it generally has the spontaneity of a jam session. It's one of Lee Morgan's lesser-known dates. Originally released in 1962, Take Twelve was reissued on CD in 2006, and includes an alternate take of "Second's Best." ~ Scott Yanow http://www.allmusic.com/album/take-twelve-mw0000203606

Personnel: Lee Morgan (trumpet); Clifford Jordan (tenor saxophone); Barry Harris (piano); Louis Hayes (drums).

Take Twelve

---

Paul Desmond - Skylark

Styles: Saxophone Jazz
Year: 1973
File: MP3@320K/s
Time: 53:51
Size: 124,4 MB
Art: Front

(6:10)  1. Take Ten
(9:42)  2. Romance De Amor
(4:51)  3. Was A Sunny Day
(6:44)  4. Music For A While
(5:20)  5. Skylark
(3:59)  6. Indian Summer
(5:55)  7. Music For A While (alt tk)
(5:38)  8. Skylark (alt tk)
(5:27)  9. Indian Summer (alt tk)

Moving over to the CTI label with Creed Taylor, Paul Desmond injects a bit of the 1970s into his sound, obtaining agreeable if not totally simpatico results. Here, the cool altoist is teamed with the progressive-slanted drumming of Jack DeJohnette (who might have been too busy a drummer for his taste), and Bob James' electric and acoustic pianos, with Ron Carter as the bass anchor, Gene Bertoncini on rhythm guitar, and, most interestingly, another individualist, Gabor Szabo, on solo electric guitar. For the first and only time, even taking into account the most inspired moments of Jim Hall, Desmond is not the most interesting soloist on his own record, for it is Szabo who most consistently draws you in with his mesmerizing incantations over vamps from the rhythm section. 

For those who missed it the first time, Desmond remakes "Take Ten" without the Middle Eastern elements "Romance de Amor" is eventually dominated by Szabo, and the inclusion of "Was a Sunny Day" proves that Desmond's involvement with the music of Paul Simon in 1970 was not a passing infatuation. Don Sebesky is credited with the "arrangements" but his orchestrating hand is not felt except for a single solo cello (George Ricci) in an adaptation of Purcell ("Music for a While"). It's a cautious change of pace for Desmond, although the fiercer context into which he was placed doesn't really fire his imagination. ~ Richard S.Ginell http://www.allmusic.com/album/skylark-mw0000651923

Personnel: Paul Desmond (alto saxophone); Gabor Szabo, Gene Bertoncini (guitar); George Ricci (cello); Hilary James , Bob James (piano, electric piano); Jack DeJohnette (drums); Ralph MacDonald (percussion).

Skylark

---

Paul Brown - One Way Back

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 39:49
Size: 91,4 MB
Art: Front

(3:44)  1. Put It Where You Want It
(4:00)  2. Sexy Thang (feat. Darren Rahn)
(3:52)  3. Hush
(3:48)  4. Piccadilly Circus (feat. Chris Standring)
(3:52)  5. River Walk (feat. Marc Antoine)
(4:08)  6. Well Alright (feat. Don Bryant)
(4:29)  7. Take Flight (feat. Peter White)
(3:24)  8. One Way Back
(3:49)  9. Rear View Mirror (feat. Chuck Loeb)
(4:39) 10. Heaven

On his latest Woodward Avenue set One Way Back, two time Grammy winning guitarist Paul Brown keeps the deep funk and cool urban vibe flowing while tapping deeper than ever before into his lifelong blues influences. While extending his long history of collaborations with the genre's top saxophonists with "Sexy Thang" featuring Darren Rahn, the collection's musical core is a series of dynamic collaborations with top genre guitarists Chris Standring, Peter White, Marc Antoine and Chuck Loeb. Highlights include a the lead single, a bold and fiery re-imagining of The Crusaders' soul-jazz classic "Put It Where You Want It," and a powerhouse Memphis soul-influenced tune "Well Alright" featuring vocalist (and former Hi Records songwriter) Don Bryant. ~ Editorial Reviews https://www.amazon.com/One-Way-Back-Paul-Brown/dp/B01JRJC4C6

One Way Back

---