Steve Khan - Tightrope

Styles: Guitar Jazz, Fusion
Year: 1977
File: MP3@320K/s
Time: 37:48
Size: 86,7 MB
Art: Front

(5:22)  1. Some Punk Funk
(6:31)  2. Darlin' Darlin' Baby (Sweet Tender Love)
(5:46)  3. Tightrope (For Folon)
(6:05)  4. The Big Ones
(5:20)  5. Star Chamber
(5:02)  6. Soft Summer Breeze
(3:40)  7. Where Shadows Meet

What do you get when you have a superb rhythm section, saucy keyboards, a hot and brassy mini-horn section, and one very tasteful jazz- and chops-laden guitarist all come together with some jazz and some fusion in mind? You have the magic of Steve Khan and the Brecker Brothers coming together. With folks like this, and Steve Gadd and Bob James too, you have a formula for success. Khan's compositions are smooth yet lively enough not to bore. His unique drive, and pristine flourish and tone on his modded Fender Telecaster, and even his deft acoustic work, all come together to make a very satisfying blend of sexy jazz and funked-up, be bop fusion. Yet there is that special touch that only Steve Khan can add that makes his releases a signature sound on each outing. If you listen closely, you will hear Larry Coryell-ian riffs and stylings (as Khan and Coryell used to jam together, and did record together).  Much ado is made about Mike Stern's guitar work in the '80s and '90s, but one listen to Khan and you will immediately hear who his big inspiration was. Next time you pick up an old Stern release you stand a good chance of seeing the words "produced by Steve Khan." ~ John W.Patterson http://www.allmusic.com/album/tightrope-mw0000919537

Personnel:  Steve Khan, Bob James – guitar;  Michael Brecker - tenor saxophone;  Randy Brecker – trumpet;  David Sanborn - alto saxophone;  Don Grolnick – keyboards;  Will Lee – bass;  Steve Gadd – drums;  Ralph MacDonald – percussion;  David Spinozza, Jeff Mironov - guitar

Tightrope

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Kirk Knuffke, Jesse Stacken - Satie

Styles: Cornet And Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 67:35
Size: 155,7 MB
Art: Front

(4:32)  1. Six Gnossiennes No. 1
(4:35)  2. Trois Gymnopédies No. 3
(2:39)  3. Vexations 1
(7:16)  4. Petite Ouverture à danser
(9:49)  5. Six Gnossiennes No. 2
(6:01)  6. Trois Gymnopédies No. 2
(1:17)  7. Vexations 2
(7:04)  8. Pièces Froides 2 Dance De Travers
(8:10)  9. Six Gnossiennes No. 3
(2:21) 10. Bonjoir Biqui, Bonjour!
(5:04) 11. Sarabande No. 1
(2:50) 12. Six Gnossiennes No. 4
(1:22) 13. Vexations 3
(4:28) 14. Trois Gymnopédies No. 1

N.Y.C.-based cornetist Kirk Knuffke is an adventurous, forward-thinking artist with a bent toward avant-garde improvisation and modern creative jazz. A native of Colorado, Knuffke studied with trumpeter Ron Miles and pianist Art Lande before relocating to New York City in 2005. Since that time, he has earned a reputation as both an in-demand sideman and bandleader, having performed with such artists as Roswell Rudd, William Parker, Uri Caine, Myra Melford, John Zorn, Dave Douglas, Billy Hart, Steven Bernstein, Jon Irabagon, and many others. He is a veteran member of several of Butch Morris' ensembles, and performs regularly as a member of both drummer Matt Wilson's quartet and the Steve Lacy tribute ensemble Ideal Bread. As a solo artist, Knuffke has released a steady stream of albums including Big Wig (2008), Garden of Gifts (2009), Amnesia Brown (2010), Chorale (2013), and Exterminating Angel (2014). He also has an ongoing duo project with pianist Jesse Stacken in which they explore the more obscure works by legendary jazz composers, such as the Thelonious Monk and Duke Ellington-themed Mockingbird (2009) and the Charles Mingus-themed Orange Was the Color (2011). In 2015, Knuffke delivered the trio album Arms & Hands, which featured bassist Mark Helias and drummer Bill Goodwin. ~ Matt Collar  https://itunes.apple.com/us/artist/kirk-knuffke/id325391889#fullText

Personnel: Kirk Knuffke (cornet), Jesse Stacken (piano)

Satie

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Jon Eardley - From Hollywood to New York

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 40:31
Size: 93,1 MB
Art: Front

(5:01)  1. Late Leader
(5:29)  2. Indian Spring
(4:08)  3. Black
(4:38)  4. Gloss
(5:52)  5. Hey There
(4:38)  6. Demanton
(4:19)  7. Sid's Delight
(6:23)  8. If You Could See Me Now

Trumpeter Jon Eardley's first two sessions as a leader (he would only lead two others during the next 20 years) are combined on this reissue CD. A fine boppish player who mostly stuck to the middle register of his horn, Eardley would soon be joining Gerry Mulligan's group. He is heard on four selections heading a quartet with pianist Pete Jolly (who was just starting his career), bassist Red Mitchell, and drummer Larry Bunker, and on four other numbers with tenor saxophonist J.R. Monterose, pianist George Syran, bassist Teddy Kotick, and drummer Nick Stabulas. The music (five originals and three standards) is essentially cool-toned bop and was quite modern for the period. ~ Scott Yanow http://www.allmusic.com/album/from-hollywood-to-new-york-mw0000690506

Personnel: Jon Eardley (trumpet); J.R. Montrose (tenor saxophone); Pete Jolly, George Syran (piano); Red Mitchell, Teddy Kotick (bass); Nick Stabulas (drums)

From Hollywood to New York

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Pastorius, Metheny, Bley, Ditmas - Jaco

Styles: Jazz, Post-Bop, Fusion
Year: 1974
File: MP3@320K/s
Time: 36:39
Size: 84,2 MB
Art: Front

(9:55)  1. Vashkar
(1:00)  2. Poconos
(6:28)  3. Donkey
(7:14)  4. Vampira
(1:04)  5. Overtoned
(3:45)  6. Jaco
(5:12)  7. Batterie
(0:28)  8. King Korn
(1:29)  9. Blood

Although listeners often think of Jaco Pastorius' first solo album as 1976's Jaco on Epic, producer/keyboardist Paul Bley actually gave Pastorius his first official chance at professional recording two years earlier. Coincidentally titled Jaco (originally titled Pastorious/Metheny/Ditmas/Bley), this spontaneous set is also significant for being among guitarist Pat Metheny's first recordings; completing the quartet are Bley on electric piano and drummer Bruce Ditmas. The music consists of three songs by Bley, five from Carla Bley, and "Blood" by Annette Peacock. Pastorius sounds quite powerful, but Metheny's tone is kind of bizarre, very distorted, and not at all distinctive at this point. The recording quality is a bit shaky throughout the electronic set, and the group does not quite live up to its potential, but Pastorius shows that he was already an innovative player, making this an LP of historic interest. ~ Scott Yanow http://www.allmusic.com/album/jaco-mw0000759043

Personnel:  Drums – Bruce Ditmas;  Electric Bass – Jaco Pastorius;  Electric Guitar – Pat Metheny;  Electric Piano, Producer – Paul Bley

Jaco

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Paul Bley, Charlie Haden, Paul Motion - Memoirs

Styles: Avant-Garde Jazz
Year: 1989
File: MP3@320K/s
Time: 70:54
Size: 163,6 MB
Art: Front

(9:50)  1. Memoirs
(7:56)  2. Monk's Dream
(4:19)  3. Dark Victory
(7:49)  4. Latin Genetics
(6:10)  5. This Is The Hour
(4:14)  6. Insanity
(9:45)  7. New Flame
(7:07)  8. Sting A Ring
(5:27)  9. Blues For Josh
(8:14) 10. Enough Is Enough

Memoirs serves as a tidy summation of Paul Bley's gifts as an individual and musical conversationalist. It helps that he converses with old friends. Paul Motian is, roughly, to the drums what Bley is to the piano, capable of sculpting icy, paradoxical emotions; on moment's notice, they can venture "out" where tonal centers and rhythmic pulses are not invited. And there, always, is the fundamental Charlie Haden, who demonstrates how a few well-placed notes and well-observed silences can lock a group texture into place. ~ Josef Woodard http://www.allmusic.com/album/memoirs-mw0000094281

Personnel:  Bass – Charlie Haden;  Drums – Paul Motian;  Piano – Paul Bley

Memoirs

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Marquis Hill - The Way We Play

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 46:02
Size: 106,0 MB
Art: Front

(1:47)  1. Welcome / Sirius (Bull’s Theme)
(6:14)  2. Medley: The Way We Play / Minority
(0:37)  3. Prelude
(5:33)  4. Moon Rays
(4:32)  5. My Foolish Heart
(2:05)  6. Polka Dots and Moonbeams
(5:53)  7. Fly Little Bird Fly
(3:32)  8. Maiden Voyage
(3:48)  9. Straight, No Chaser
(5:58) 10. Beep Durple
(0:36) 11. Juan's Interlude
(5:22) 12. Smile

Prior to winning the Thelonious Monk Institute's International Jazz Competition in 2014, trumpeter Marquis Hill was already a formidable presence on the Chicago jazz scene. An adroit improviser and educator, Hill had taken home several accolades, including his first place win in the 2013 Carmine Caruso International Jazz Trumpet Solo Competition. His Monk Institute performance merely cemented the notion that Hill was a jazz artist who'd arrived. As part of his prize for winning the Monk contest, he earned a record deal with the Concord label, and 2016's The Way We Play is the result. While the album is certainly a showcase for Hill's fluid talents as an improvisor, it also works to showcase his skills as a bandleader. As with his 2014 effort, Modern Flows EP, Vol. 1, The Way We Play finds Hill leading his Blacktet, a group of longtime collaborators including saxophonist Christopher McBride, vibraphonist Justin Thomas, drummer Makaya McCraven, and bassist Joshua Ramos. Thoughtfully organic and rife with a groove-oriented, hip-hop-informed style, the Blacktet is at once contemporary and steeped in modern jazz tradition. Essentially, Hill balances both of these strengths on The Way We Play, largely touching upon songs from the jazz canon re-arranged in his own fluid, soulfully articulated style. As if to playfully underline his Chicago spirit, Hill also re-creates the Chicago Bulls game-opening theme replete with vocalist Meagan McNeal introducing his band. He then moves through a set of well-curated covers including a sophisticated version of "My Foolish Heart," featuring vocalist Christie Dashiell and a kinetic take on Horace Silver's "Moon Rays," in which McCraven plays a frenzied drum style reminiscent of electronic drum and bass beats.

Hill is a dynamic performer whose trumpet can be hushed and breathy one minute, and boldly clarion the next. Aesthetically, while he fits into the Freddie Hubbard mold with flashes of Wynton Marsalis and Clifford Brown, he's also a deeply rooted trumpeter with an array of influences, demonstrated here by his Afro-Cuban take on Donald Byrd's "Fly Little Bird Fly" and his choice to tackle Carmell Jones' knotty "Beep Durple." His technique can dazzle, as evidenced by his lithe squealing-at-the-clouds solo on Thelonious Monk's "Straight, No Chaser." However, he's also a canny romantic whose supple, burnished tone can pull you deeper into a melody as he does on his largely rubato take on the ballad "Polkadots and Moonbeams." Elsewhere, he delivers a languid take on fellow Chicagoan Herbie Hancock's "Maiden Voyage," and even makes room for incisive social commentary via a spoken word poem from writer Harold Green III on "The Way We Play/Minority." Ultimately, The Way We Play illustrates Hill's award-winning sound, a sound that should appeal broadly to listeners hungry for a stylish, subtly forward-thinking approach to post-bop jazz, and to those who simply enjoy a warmly delivered standard. ~ Matt Collar http://www.allmusic.com/album/the-way-we-play-mw0002946301

Personnel: Marquis Hill (trumpet, flugelhorn); Meagan McNeal, Christie Dashiell (vocals); Christopher McBride (alto saxophone); Vincent Gardner (trombone); Justin "Justefan" Thomas (vibraphone); Makaya McCraven (drums); Juan Pastor (percussion).

The Way We Play

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Jill Johnson - For You I’ll Wait

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 45:02
Size: 104,2 MB
Art: Front

(3:58)  1. I Will Never Let You Know
(4:52)  2. It Don't Change a Thing
(3:08)  3. Again
(3:50)  4. When It Pours It Rains
(3:39)  5. Gotta Love Me More
(3:26)  6. Love Is Good At Breaking Hearts
(4:39)  7. Could You Stay the Night
(4:52)  8. Till You're Gone
(4:50)  9. For You I'll Wait
(3:15) 10. Given Up
(4:28) 11. The Night I Cry

It’s been four years since Jill Johnson released a record with her own material, and finally her much anticipated album “For You I’ll Wait” is now being released! The music was written during a week in April in Nashville and Austin  a week when the songs came as a flood. The result is “For You I’ll Wait”, an album containing 11 tracks with a delicate sound and intimate lyrics revealing who Jill is today. “It should chafe, there should be brittleness and it should be felt! It is a feeling that became even more apparent after my collaboration with Gabriel Kelley. The meeting with him in the TV series “Jill’s Veranda” in Nashville affected me quite profoundly. I felt at once that I wanted to make music with him and I think that he brought me to a darker, deeper sound with more heart and soul,” explains Jill.  On ”For You I’ll Wait”, Jill has worked with some of USA:s most outstanding song-writers and as well as Garbriel Kelley, was of course, Liz Rose, a close friend of Jill who’s a several time Grammy-nominee and even award winning, Nathan Chapman, Kate York and Lori McKenna.

“It sounds almost silly when you say that you’ve written that much music over just a few days, but that’s exactly what happened. I really opened up and we wrote around the clock which produced results. I was completely at a standstill when I got home but simultaneously felt quite elated”, says Jill. The theme for the whole album is more or less about life, love and also about that which we all know, that a person should first and foremost love and respect herself  in order to love and respect others. This time, Jill has taken on the role of co-producer together with her good friend and producer of many years, Amir Aly. The whole album was recorded together with Jill’s musicians whom have played with her for a number of years, contributing to the overall self-assured sound.

“I’ve always known how I want to sound on record, but have never had the patience to produce my music to the full. My writing has developed over the years, lyrics have become more personal and with that the interest has grown to create frameworks. Since I started to play the guitar a few years ago, a new ear for how others play has developed and it’s great to try out new things and dress up the music in different costumes. Amir Aly is the most talented producer I’ve worked with. He’s a fantastic musician, has the technical knowledge and has the patience of an angel in order to immerse me in the process and guide me in my search for the perfect sound. Producing this record with Amir has meant lots of laughter, tears and learning. Music, when it’s most enjoyable”, says Jill. ”I really look forward to the tour which will be the first for a long time with completely new material”, says Jill. ”I love concert halls as a performing space, that give the audience the chance to really listen and me to get closer to them”, concludes Jill. http://jilljohnson.se/en/jill-johnson-for-you-ill-wait/

For You I’ll Wait

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Chet Baker and Paul Bley - Diane

Styles: Trumpet And Piano Jazz 
Year: 2000
File: MP3@320K/s
Time: 51:41
Size: 120,0 MB
Art: Front

( 7:16)  1. If I Should Lose You
( 7:01)  2. You Go To My Head
( 5:19)  3. How Deep Is The Ocean
( 3:56)  4. Pent-Up House
( 7:54)  5. Every Time We Say Good Bye
( 5:32)  6. Diane
( 4:15)  7. Skidadidlin'
(10:24)  8. Little Girl Blue

Chet Baker recorded at every opportunity during the last decade or so of his tragic life, with widely varying results due to his drug addiction. But this surprising duo session with pianist Paul Bley is one of his better efforts from this period, focusing primarily on standard ballads by top composers. Bley's playing in the mid-'80s usually was freer in nature, but he willingly plays more mainstream backing for the trumpeter. Baker's tone adds to the poignant air in a rather deliberate interpretation of "If I Should Lose You," with Bley playing beautiful, sparse chords behind him. The duo gels nicely in a midtempo setting of Sonny Rollins' "Pent-Up House," while Baker's "Skidadidlin'" is a low key, bluesy number. Baker sings "You Go to My Head" in a thoughtful manner. First issued on LP, the CD edition added a warm extended performance of Richard Rodgers' "Little Girl Blue" that obviously was omitted at first only due to time restrictions. ~ Ken Dryden http://www.allmusic.com/album/diane-chet-baker-and-paul-bley-mw0000193195

Personnel:  Piano – Paul Bley;  Trumpet – Chet Baker;  Vocals – Chet Baker (tracks: 2)

Diane

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Linda Purl - Midnight Caravan

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 55:12
Size: 127,1 MB
Art: Front

(4:01)  1. I Feel a Song Coming On
(3:11)  2. Let Me Love You
(6:05)  3. Autumn in New York
(2:37)  4. Them There Eyes
(3:50)  5. L'etang
(4:00)  6. I Thought About You
(4:05)  7. Oh Me, Oh My / Cheerful Little Earful
(4:52)  8. Easy Living
(3:13)  9. Shall We Dance?
(3:21) 10. My Ship
(3:06) 11. Spring Again
(3:42) 12. Caravan
(3:51) 13. My Romance
(2:19) 14. It's a Pity to Say Goodnight
(2:51) 15. 'Tis Autumn

From Feinstein s at the Regency, Linda Purl salutes the great women of the 40s and 50s, from Ella Fitzgerald to Rosemary Clooney!  Straight from New York s Feinstein s at the Regency, Midnight Caravan salutes the great female singing stars of the 1940s and 1950s, from Ella Fitzgerald to Judy Garland to Rosemary Clooney! From sultry ballads to hot Latin jazz arrangements of Broadway tunes, the show features classic standards like My Romance, Shall We Dance, and Caravan, conjuring a nighttime Mad Men -esque world where the surroundings are posh, the drinks keep flowing, and nobody goes to bed before three! Linda Purl, best known from her long reign on television in such classics as Matlock and Happy Days and more recently of The Office, True Blood, and Homeland comes out of the box to glimmer as a true jazz chanteuse. Along with hip and masterful arranger/pianist Tedd Firth, she makes us rediscover what we loved about the great NY nightclub era, all over again! ~ Editorial Reviews https://www.amazon.com/Midnight-Caravan-Linda-Purl/dp/B00BIUOLM4

An act that literally takes your breath away... she has an impressive range, perfect intonation, and awesome phrasing ... discovering this kind of beauty and talent ... is like seeing a unicorn in a subway. ~ Rex Reed, NEW YORK OBSERVER

Beautiful, sensuous Purl ... a sultry nightclub star with a show that combines intimate stories, humor, and delicious song styling. ~ LA Weekly

A true American sweetheart ... riveting. ~ LA Times

Midnight Caravan

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Nicholas Payton - Sketches Of Spain

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 40:56
Size: 94,8 MB
Art: Front

(15:40) 1. Concierto De Aranjuez
( 3:25)  2. Will O' The Wisp
( 4:11)  3. The Pan Piper
( 4:50)  4. Saeta
(12:48) 5. Solea

Yes...You read it correctly, Sketches of Spain is perhaps the embodiment of everything that is artistically brilliant about a trumpet player that until now has never realized his complete potential. The 1960 release from Miles Davis is reworked as a live concert with a 19 piece orchestra and includes long time running mates Vincente Archer on bass, Marcus Gilmore on drums and Daniel Sadownick on percussion. What makes the Payton "riff" on Miles work? Payton does what Payton does best, he plays trumpet. While I have remained one of a handful of writers that has never chosen to worship at the self indulgent alter of either Miles or Nicholas Payton, Sketches of Spain has never sounded better and Payton's performance is superb. You have no idea how bad it hurts to admit that. What makes this Payton recording special is the amazing ability to take everything that is #BAM and place it on the back burner in favor of simply performing a musical exploratory on one of the greatest selling albums in modern music...and the key word being music not #BAM. While a visceral artist from the word go, Payton does an amazing cerebral take on perhaps where this music could have gone and perhaps where it can go in the future.  There is little need to break down the work into pseudo intellectual bits and pieces as only Payton knows his true artistic intent but to the passive listener this is truly old school made new cool once again. Nicholas Payton and I have had our ups and downs, mostly downs. After the smoldering wreckage over the misogynistic disaster that was "Bitches" we find Payton back in his own wheelhouse, doing it his way and at an incredibly proficient level. Love him or hate him you got to give it to him. 

~ Brent Black http://www.criticaljazz.com/2013/11/nicholas-payton-sketches-of-spain-bfm.html 

Personnel: Nicholas Payton (trumpet); Aurelie Noll (harp); Stéphane Réty, Nikita Cardinaux, Rahel Leuenberger , Marc Lachat, Benedikt Shobel, Andreas Ferraino (woodwinds); Marc Ullrich , Marc Hood, Manuela Fuchs, Immanuel Richter (trumpet); Jean-Francois Taillard, Pascal Deuber, Henryk Kalinsky (French horn); George Monch (tuba); Marcus Gilmore (drums); Daniel Sadownick, Szilard Buti (percussion).

Sketches Of Spain

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Erroll Garner - Ready Take One

Styles: Piano Jazz

Year: 2016

File: MP3@320K/s

Time: 66:02

Size: 152,4 MB

Art: Front

(3:47)  1. High Wire

(3:00)  2. I Want to Be Happy

(5:03)  3. I'm Confessin' (That I Love You)

(3:19)  4. Sunny

(5:07)  5. Wild Music

(6:23)  6. Caravan

(5:25)  7. Back to You

(4:25)  8. Night and Day

(2:57)  9. Chase Me

(5:52) 10. Satin Doll

(5:27) 11. Latin Digs

(4:50) 12. Stella By Starlight

(5:29) 13. Down Wylie Avenue

(4:52) 14. Misty

During his lifetime, Erroll Garner was a somewhat controversial figure with jazz aficionados. The main knock was that he was a technical master of the piano with plenty of flair and piano-bar panache, but not enough soul and swing to be a jazz heavyweight. Despite the bickering among jazz critics, Garner (who died in 1977) did not have trouble filling performance spaces or selling albums, but his place in the public ear waned after his death. His live Concert by the Sea remains one of the best-selling jazz albums ever, and received a deluxe 3-CD reissue (and was nominated for a Grammy) last year. Now, Sony/Legacy has dipped into the archives of Garner’s late manager, Martha Glaser, and found 14 finished but never released recordings, the content of this new album. Ready Take One is composed of recordings made in 1967 at Universal Recording Studios in Chicago; in 1969 at Capitol Studios New York; and in 1971 at RCA Studios New York. The album closes with a live version of Garner’s hit, “Misty,” recorded in Paris in May 1969. For the 1967 sessions, Ike Isaacs on bass, Jimmie Smith on drums and Joe Mangual on congas backed Garner. For the 1969 and 1971 studio and live recordings, Earnest McCarty, Jr. replaced Isaacs on bass. The fact that the band and style of playing remains consistent throughout makes the album hold together as a coherent sequence of enjoyable tunes rather than an “archive dig” of disjointed musical examples.

According to Robin Kelly’s liner notes, Garner’s style in the studio was much like his style on stage with his band: he would call out a tune and then go, with the band responsible for keeping up with whatever improvisational twists he chose to explore. Fortunately, the backing musicians were up for the challenge, and the recordings sparkle with the excitement of a quartet doing what good jazz musicians do exploring and reacting to each other rather than playing heavily-rehearsed and written-down music. And, for the record, although all of the players are technically excellent, the album gushes with swing and soul. One admittedly minor criticism: although the liner notes emphasize the fact that the reissue producers chose to keep audio of Glaser calling out take numbers and a few seconds of studio banter here and there, this “bonus material” does not add anything to the music. In fact, it slightly interrupts the flow of the album. Six of the album’s 14 cuts are Garner originals; “High Wire” and “Wild Music” are particularly nice. The Paris recording of “Misty” also stands out because, despite playing the song thousands of times to ever-eager audiences, Garner could still bring excitement and a connection of “I’m playing this song just for you” to what was yet another performance. Also interesting is the band’s take on the Juan Tizol/Duke Ellington standard “Caravan.” Garner’s decision to take the melody apart and reassemble pieces of it on unusual beats doesn’t always work, but the approach shows how the band was not content to run through standards in any sort of traditional way. The 1971 sessions, especially, show the influence of funk and acid-jazz on more traditional performers. Garner sometimes sounds quite a bit like Ramsey Lewis (“The In Crowd”), and that more-soul/less-swing approach was probably preferred by live audiences of the time. But, Garner never shies away from virtuosity, so there is always crisp execution of complex right-hand runs and rock-solid left-hand rhythm. Sony/Legacy has an arrangement to mine the archives of Garner and Glaser, and more releases are promised. Hopefully, there is more of this kind of polished music in the vaults. And, hopefully, future reissues producers will assemble and sequence future releases into enjoyable, musically coherent albums like Ready Take One. ~ Tom Fine http://blackgrooves.org/erroll-garner-ready-take-one/

Personnel:  Erroll Garner (p) / Jimmie Smith (d) / Ernest McCarter Jr. (b) / Jose Magual (perc)

Ready Take One     

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George Shearing - Grand Piano

Styles: Piano Jazz
Year: 1985
File: MP3@320K/s
Time: 40:00
Size: 91,9 MB
Art: Front

(4:31)  1. When a Woman Loves a Man
(4:48)  2. It Never Entered My Mind
(4:44)  3. Mack the Knife
(3:31)  4. Nobody Else But Me
(2:43)  5. Imitations
(2:39)  6. Taking a Chance on Love
(4:50)  7. If I Had You
(3:16)  8. How Insensitive
(3:50)  9. Easy to Love
(5:04) 10. While We're Young

George Shearing recorded frequently while on Concord but this was his first full-length session of unaccompanied solos for the label. Most of the ten selections are interpreted as ballads (Shearing takes an effective vocal on his original "Imitations") but he does cook a bit on "Nobody Else but Me" and "Easy to Love." 

However the emphasis is on slow thoughtful tempos and introspective improvising. 

~ Scott Yanow http://www.allmusic.com/album/grand-piano-mw0000649726

Personnel: George Shearing (piano).

Grand Piano

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Polly Gibbons - Bang Bang

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 58:20
Size: 134,4 MB
Art: Front

(4:16)  1. My Favorite Things
(5:23)  2. Bang Bang
(6:31)  3. You Dont't Know What Love Is
(4:54)  4. You've Got A Friend
(2:24)  5. Speak Low
(4:19)  6. In The Wee Small Hours Of Morning
(4:52)  7. Bridge Over Troubled Water
(3:09)  8. Honeysuckle Rose
(4:00)  9. Ain't That Love
(3:42) 10. Dark End Of The Street
(3:20) 11. You Send Me
(5:25) 12. The Masquerade Is Over
(6:00) 13. The Way

At 25 years old, Polly Gibbons is one of the most talked about young singer/songwriters in the UK – her nomination for a BBC Jazz Award is clear indication of her success, along with ongoing performances at some of the top UK venues and international festivals. Raised with 5 siblings on a musical Suffolk farm, people quickly became aware of her vocal talent. By the age of 5, Polly had already co-written her first song – a song which was selected from thousands to be recorded at Air Studios in London. Polly co-wrote her debut album, “What’s The Real Reason” with Ola Onabule, who also produced it on his label, Rugged Ram Records. A highly anticipated collection of lyrically refreshing songs, the album reflects Polly’s main influences of jazz, soul and hip hop. Polly shimmers in song with an instinctive soulfulness and maturity that belies her years. Her understanding of heartfelt delivery in the tradition of the genre, are notched up a level by the quirky insight of her lyrics. Whilst you’re grooving to the jazz tinged hip-hop beats of her tunes, you will also be taken in by the down to earth British humour in her words. Bursting at the seams with wit, incisive intellect and absolute honesty about Polly and the world she inhabits, her songs are delivered via one of the warmest sultriest voices you’ll hear in a very long time. With an innate vocal versatility, Polly has been invited to record on various projects including a track with hip hop group Vinyl Dialect, on Wall of Sound's Bad Magic label. In addition, Polly has co-written and performed a song on a British Soul compilation album, 'Diggz Presents Random Soul’ on Random Records. Most recently Polly featured alongside such jazz luminaries as Jaqui Dankworth, Ian Shaw and Gwyneth Herbert on an album entitled ‘The Music of BB Cooper’. Polly has spent many occasions over the last 4 years recording and performing with renowned artist and producer, Ian Shaw. http://www.hideawaylive.co.uk/polly-gibbons-quartet-3110

“This talent is one in a million... miss her gigs at your peril!” Ian Shaw

“Polly Gibbons’ melismatic, gospel-fired tribute to Ray Charles was remarkable” The Evening Standard (Ronnie Scott’s Review)

“A soulful voice that will capture your heart” Claire Martin

“There’s a rare sense of joy in her voice, not to mention a depth of blues feeling...” Evening Standard (Pizza Express Review)

“A soulful young jazz vocalist destined to be a star!” Time Out

“One of the most auspicious debuts of recent times” Jazzwise

Bang Bang

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Phil Woods & Jon Eardley - Pot Pie

Styles: Saxophone And Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 41:57
Size: 96,3 MB
Art: Front

(5:14)  1. Pot Pie
(5:26)  2. Open Door
(6:35)  3. Mad About the Boy
(5:20)  4. Robin's Bobbin
(5:12)  5. Cobblestones
(4:57)  6. Toos Bloos
(4:49)  7. Sea Beach
(4:20)  8. Horseshoe Curve

Phil Woods was only 22 at the time of this program (reissued on CD), but he was already an explosive and very talented bop-oriented altoist. This obscure set, one of his earliest recordings, has seven group originals, plus the lone standard "Mad About the Boy," and is full of excitement. Woods, trumpeter Jon Eardley, pianist George Syran, bassist Teddy Kotick and drummer Nick Stabulas all display both youthful energy and a strong knowledge of Charlie Parker's innovations, making this an essential, if little-known acquisition for bop collectors. ~ Scott Yanow http://www.allmusic.com/album/pot-pie-mw0000087380

Personnel:  Phil Woods, alto saxophone;  Jon Eardley, trumpet;  George Syran, piano;  Teddy Kotick, bass;  Nick Stabulas, drums.

Pot Pie

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Paolo Sapia - Mostly Music

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 67:51
Size: 158,9 MB
Art: Front

(10:12)  1. Desire
( 5:46)  2. Where Are We Now?
( 6:27)  3. Old Folks
( 7:29)  4. 621 Willoughby Ave
( 6:41)  5. Don't Follow the Crowd
( 5:55)  6. Planet P
( 4:49)  7. Stapled Mates
( 6:30)  8. Saudade De Bahia
( 6:00)  9. On a Clear Day
( 7:57) 10. Pure Imagination

Paolo is originally from Italy and he has played Jazz Piano professionally for years, playing in several Jazz Festivals and Jazz Clubs such as the Blue Notein Milan, the Italian Way of Jazz, Trenzano Jazz Festival, Ottagono Jazz Festival among others. In 2004 Paolo decided to start playing the Alto Sax and in 2005 he moved to New York after receiving a scholarship at the Jazz and Contemporary Music program at the
New School University in New York , after that he received a MA degree from The Queens College in New York City as well. 

From Blue Note to the Kennedy Center in Whashington D.C or the Italian Cultural Institute Paolo has performed, recorded, and studied with a broad range of musicians: Jimmy Cobb, Eric Mcpherson, Antonio hart, Kevin Hays, Bob Mover, Jeremy Manasia, Mark Turner, Reggie Workman, Quincy Davis, Sam Harris, Eden Ladin, Marco Panascia, Harold O’neil, Vincent Herring, Joseph Lepore, Luca Santaniello. Philip Dizak, Peter Zak, Rafal Sarnecki, Joel Holmes, Wayne Escoffery, Reggie Quinerly, Mike Eckroth, Jimmy Owens and many others. In June 2013 Paolo has recorded his first album as leader to be released soon “Mostly Music” featuring an amazing band which includes the great Jimmy Cobb on Drums, Philip Dizak on Trumpet, Peter Zakon Rhodes and Piano and John Webberon Bass. http://paolosapia.com.s105549.gridserver.com/wp-content/uploads/Paolo_Sapia_Bio_2013.pdf

Mostly Music

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Michael Bublé - Nobody But Me

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 44:58
Size: 103,9 MB
Art: Front

(3:21)  1. I Believe in You
(4:06)  2. My Kind of Girl
(2:59)  3. Nobody But Me
(2:42)  4. On an Evening in Roma (Sott'er Celo de Roma)
(3:24)  5. Today Is Yesterday's Tomorrow
(3:31)  6. The Very Thought of You
(3:42)  7. I Wanna Be Around
(3:23)  8. Someday (feat. Meghan Trainor)
(3:15)  9. My Baby Just Cares for Me
(4:20) 10. This Love of Mine
(3:01) 11. Nobody But Me (Alternate w/Trumpet Version)
(2:53) 12. Take You Away
(4:15) 13. God Only Knows

The crooner defies expectations on his self-produced seventh LP. While Nobody But Me still features plenty of big band romance (as well as a stirring cover of The Beach Boys’ “God Only Knows”), the acoustic pop of “I Believe In You” and rap-enriched “Nobody But Me” (which features a verse from The Roots’ Black Thought) prove that Bublé’s much more than a throwback. ~ iTunes Review https://itunes.apple.com/us/album/nobody-but-me-deluxe-version/id1143638809

Nobody But Me

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Pepper Adams - Conjuration: Fat Tuesday's Session

Styles: Saxophone Jazz
Year: 1983
File: MP3@320K/s
Time: 69:12
Size: 160,5 MB
Art: Front

(8:08)  1. Conjuration
(8:19)  2. Alone Together
(8:04)  3. Diabolique II
(7:37)  4. Claudette's Way
(6:44)  5. Dylan's Delight
(7:44)  6. Dr. Deep
(7:16)  7. Old Ballad
(6:56)  8. Quittin' Time
(5:44)  9. Dobbin
(2:35) 10. Tis

The great baritonist Pepper Adams is teamed up with the adventurous trumpeter Kenny Wheeler and veteran pianist Hank Jones for this live quintet date. Wheeler, although often associated with the avant-garde, has never had any difficulty playing changes and his strong style clearly inspired Adams. Together they perform three of the baritonist's originals, Thad Jones "Tis," Wheeler's "Old Ballad," and the standard "Alone Together." ~ Scott Yanow  http://www.allmusic.com/album/conjuration-fat-tuesdays-session-mw0000265496

Personnel: Pepper Adams (baritone saxophone); Kenny Wheeler (trumpet, flugelhorn); Hank Jones (piano); Clint Houston (bass); Louis Hayes (drums)

Conjuration: Fat Tuesday's Session

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Irene Atman - Irene Atman

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 53:14
Size: 123,2 MB
Art: Front

(4:28)  1. Summer Me, Winter Me
(4:32)  2. Shall We Dance
(5:21)  3. If I Love Again
(4:21)  4. That's All
(3:46)  5. The Very Thought Of You
(6:04)  6. The Nearness To You
(3:37)  7. If I Were A Bell
(4:05)  8. What Are You Doing For The Rest Of Your Life
(3:24)  9. Les Parapluies De Cherbourg
(3:44) 10. Simple Life
(4:46) 11. The Shadow Of Your Smile
(5:00) 12. My Foolish Heart

From Toronto, Canada, vocalist Irene Atman releases her self titled debut album presenting eleven time-honored classics from the Great American Songbook. Most definitely one of the best jazz vocals recordings I’ve ever heard. Possessing a voice that brings to mind some great singers, I asked myself where has she been and why has she not let the world hear her sooner. I concluded that if the legendary Barbra Streisand ever decided to sing jazz, she would sound like Irene Atman. That’s how good I believe this lady’s voice really is, truly mesmerizing. Let me add, that I have had the privilege of seeing Streisand live in concert (October, 2006, Bank Atlantic Center, Sunrise) so I know of what I speak. Making this album so special is the selection of wonderful tunes like the Rodgers/Hammerstein “Shall We Dance,” Ray Noble’s “The Very Thought of You,” Carmichael’s “The Nearness of You,” “What Are You Doing The Rest of Your Life,” and Johnny Mandel’s immortal “The Shadow of Your Smile,” just to name a few.

Atman interprets these classics with a stylish graceful elegance that leaves a memorable impression. The singer reaches with each song carrying the lyrics in warm fashion and hitting the high notes with ease. She even includes a Michel Legrand/Jaques Demy composition (“Les Parapluies de Cherbourg”) voiced in French. She begins the album with one of the best renditions of “Summer Me, Winter Me,” recorded and ends with the romantic Victor Young/Ned Washington love ballad of “My Foolish Heart.” Atman pulls off this musical treasure with the assistance of a fine sextet that includes co-arranger and producer Danny McErlain (piano), Duncan Hopkins (bass), Steve Heathcote (drums), Rob Piltch (guitar), Bob DeAngelis (sax and clarinet), John Macleod (trumpet) and Gary Binsted (bass) on selected tracks. An enchanting musical statement from Irene Atman. This release should garnish critical acclaim and calls from everyone who hears it, for more. https://www.cdbaby.com/cd/IreneAtman3

Personnel:  Danny McErlain (piano), Duncan Hopkins (bass), Steve Heathcote (drums), Rob Piltch (guitar), Bob DeAngelis (sax and clarinet), John Macleod (trumpet) and Gary Binsted (bass).

Irene Atman

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Jon Eardley - The Jon Eardley Seven

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 35:12
Size: 81,2 MB
Art: Front

(4:58)  1. Leap Year
(5:48)  2. There's No You
(8:05)  3. On the Minute
(5:16)  4. Ladders
(5:50)  5. Koo Koo
(5:12)  6. Eard's Word

The soft-toned trumpeter Jon Eardley (who was playing with Gerry Mulligan's Sextet at the time) holds his own with tenor saxophonist Zoot Sims and altoist Phil Woods on this excellent straightahead septet set; also in the group are trombonist Milt Gold, pianist George Syran, bassist Teddy Kotick and drummer Nick Stabulas. The CD reissue (Eardley's third and final American session as a leader) features the excellent group on three of the trumpeter's originals, one apiece by Syran and Woods plus the standard "There's No You." ~ Scott Yanow http://www.allmusic.com/album/the-jon-eardley-seven-mw0000177102

Personnel: Jon Eardley (trumpet); Phil Woods (alto saxophone); Zoot Sims (tenor saxophone); Milt Gold (trombone); George Syran (piano); Nick Stabulas (drums).

The Jon Eardley Seven

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Paul Bley Group - Live At Sweet Basil

Styles: Piano Jazz

Year: 1991

File: MP3@256K/s

Time: 55:21

Size: 101,8 MB

Art: Front

( 9:03)  1. Blues Waltz

(15:29)  2. Lover Man

(11:00)  3. When Will The Blues Leave?

(11:10)  4. My Old Flame

( 8:39)  5. My Foolish Heart

Live At Sweet Basil was recorded three years after The Paul Bley Group's Hot album. Both albums document live performances in New York City and have identical instrumentation, though the only member (besides Bley) constant in both lineups is drummer Barry Altschul. The guitarist for Live At Sweet Basil is John Abercrombie and the bass player is Red Mitchell. The group again visits Ornette Coleman's "When Will the Blues Leave," and outside of one of the pianist's originals, the set focuses on standards "My Old Flame," "My Foolish Heart," and "Lover Man." The last of these is a particularly gorgeous rendition that Bley starts alone as a slowly unfolding set of improvisations, before being joined by the rest of the ensemble. http://www.allmusic.com/album/live-at-sweet-basil-mw0000118062

Personnel: Paul Bley (piano, keyboards); John Abercrombie (guitar); Barry Altschul (drums).

Live At Sweet Basil

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