Wolfgang Muthspiel - Rising Grace

Styles:  Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 68:37
Size: 157,3 MB
Art: Front

( 5:56)  1. Rising Grace
(10:17)  2. Intensive Care
( 8:04)  3. Triad Song
( 8:14)  4. Father and Sun
( 8:02)  5. Wolfgang's Waltz
( 6:44)  6. Superonny
( 7:30)  7. Boogaloo
( 7:50)  8. Den Wheeler, Den Kenny
( 1:23)  9. Ending Music
( 4:34) 10. Oak

Austrian guitarist Wolfgang Muthspiel made a big splash early in his career, playing with vibraphonist Gary Burton and recording for PolyGram Records (including 1990's The Promise, produced by Burton). Since founding his own label Material Records in 2000 he has had a somewhat lower profile, although in addition to a number of his projects the label released From A Dream (2009), the stunning debut of the cooperative trio MGT (with fellow guitarists Slava Grigoryan and Ralph Towner). Muthspiel made his ECM debut with that trio on 2013's Travel Guide, followed by his leader debut in 2014 with the trio album Driftwood (with bassist Larry Grenadier and drummer Brian Blade).  Rising Grace adds to that winning combination with now-veteran pianist Brad Mehldau and young trumpeter Ambrose Akinmusire. That's a lot of potential virtuosic firepower, but the group is characterized by lyricism and a conversational style. The approach can be heard in different ways throughout the program. "Intensive Care" begins with an unaccompanied nylon-string guitar introduction (he uses nylon-string on about half of the album), which suggests how an acoustic solo recital might sound. A group dialog ensues, with various instruments alternately taking the lead.

"Father And Sun" has a bass solo from Grenadier, but Mehldau's accompaniment is so active it is almost a duet: then Muthspiel takes over on nylon string guitar while the piano commentary continues. Akinmusire is especially lyrical here. "Wolfgang's Waltz" was written by Mehldau, the only selection not composed by the leader. It features electric guitar on the head; then after trumpet and guitar solos the piece ends in a collective exchange. So while there certainly are clear solos, "head followed by a round of solos" is not the default mode. The title tune opens the set, featuring a long melody over an ostinato pattern in a style that suggests label-mate (and trio partner) Ralph Towner. "Boogaloo" finds Muthspiel using overdrive on his electric guitar the only time on the album giving it a more assertive edge. With "Den Wheeler, Den Kenny" (which translates to "this Wheeler I know") he pays tribute to another ECM artist, the great trumpeter Kenny Wheeler specifically to the album Gnu High (ECM, 1976) which was a big influence while Muthspiel was growing up, as well as a model for this group's interaction. The trumpet playing is worthy of the dedication, and Mehldau contributes a beautiful, rhapsodic unaccompanied section. Good as Muthspiel's previous recorded work has been, he really takes things to a new level here. His playing and composing have grown in richness and subtlety, and these excellent musicians are all at the top of their game, individually and collectively. They sound like they were always meant to play together. ~ Mark Sullivan 

https://www.allaboutjazz.com/rising-grace-wolfgang-muthspiel-ecm-records-review-by-mark-sullivan.php
 

Personnel: Wolfgang Muthspiel: guitar; Ambrose Akinmusire: trumpet; Brad Mehldau: piano; Larry Grenadier: double-bass; Brian Blade: drums.

Rising Grace

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Keith Jarrett Trio - Bye Bye Blackbird

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 67:55
Size: 155,8 MB
Art: Front

(11:14)  1. Bye Bye Blackbird
(10:46)  2. You Won't Forget Me
( 6:37)  3. Butch And Butch
( 6:42)  4. Summer Night
(18:43)  5. For Miles
( 6:47)  6. Straight No Chaser
( 4:02)  7. I Thought About You
( 3:00)  8. Blackbird, Bye Bye

This is the Keith Jarrett Trio's  featuring bassist Gary Peacock and drummer Jack DeJohnette elegy for their former employer Miles Davis, recorded only 13 days after the maestro's death. The lonely figure in shadow with a horn on the cover contrasts with the joyous spirit of many of the tracks on this CD, yet there is still a ghostly presence to deal with and in keeping with Miles' credo, Jarrett's choice of notes is often more purposefully spare than usual. There is symmetry in the organization of the album, with "Bye Bye Blackbird" opening and the trio's equally jaunty "Blackbird, Bye Bye" closing the album, and the interior tracks immediately following the former and preceding the latter are "You Won't Forget Me" and "I Thought About You." 

The centerpiece of the CD is an 18-and-a-half-minute group improvisation, "For Miles," which after some DeJohnette tumbling around becomes a dirge sometimes reminiscent of Miles' own elegy for Duke Ellington, "He Loved Him Madly." As an immediate response to a traumatic event, Jarrett and his colleagues strike the right emotional balance to create one of their more meaningful albums. ~ Richard S.Ginell http://www.allmusic.com/album/bye-bye-blackbird-mw0000096952

Personnel:  Keith Jarrett (piano); Gary Peacock (bass); Jack DeJohnette (drums).

Bye Bye Blackbird

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Bette Midler - The Divine Miss M Disc 1 And Disc 2

Album: The Divine Miss M   Disc 1

Styles: Vocal
Year: 1972
File: MP3@320K/s
Time: 41:00
Size: 94,6 MB
Art: Front

(2:44)  1. Do You Want To Dance?
(2:53)  2. Chapel Of Love
(5:10)  3. Superstar
(3:32)  4. Daytime Hustler
(5:25)  5. Am I Blue
(2:50)  6. Friends (Session 1)
(4:16)  7. Hello In There
(3:29)  8. Leader Of The Pack
(5:17)  9. Delta Dawn
(2:25) 10. Boogie Woogie Bugle Boy
(2:56) 11. Friends (Session 2)

Album: The Divine Miss M   Disc 2

Time: 27:38
Size: 63,8 MB

(2:44)  1. Chapel of Love (The Single Mix)
(2:17)  2. Boogie Woogie Bugle Boy (The Single Version)
(2:55)  3. Do You Want To Dance? (The Single Mix)
(2:58)  4. Friends (The Single Mix)
(2:52)  5. Old Cape Cod (Early Version)
(2:31)  6. Marahuana (Early Version)
(5:08)  7. Superstar (Alternate Version)
(3:09)  8. Saturday Night (Demo)
(3:01)  9. Mr. Freedom and I (Demo)

Bette Midler was one of the last major artists who emerged from the traditions of nightclub performing, after rock & roll changed the rules of the music business, though she was a singer capable of working both sides of the fence. Midler's approach bore more than a passing resemblance to the traditions of supper-club performers wearing their hearts on their sleeves for the audience, but she could balance sincerity and a deep respect for songcraft with a large dose of camp and broad humor, coupled with a love of R&B and girl group sounds that put her within a stone's throw of rock. (And if the nightspot where Midler first found her audience was a gay bathhouse in New York, that was just one more wrinkle that separated her from the major nightclub acts of the '50s and '60s.) Midler's 1972 debut album, The Divine Miss M, gave her an ideal introduction to the listening audience, a set that honored her brassy and introspective sides with equal care and skill. While Midler was and is best known for her outgoing stage persona, numbers like "Am I Blue" and "Do You Want to Dance?" demonstrate how much emotional heat she can bring to a torch song, and her interpretations of "Delta Dawn" and "Hello in There" are powerful, moving stuff, portraying their characters with a palpable compassion and nuance. Midler's loving renditions of "Chapel of Love" and "Leader of the Pack" show how much she learned from Brill Building pop, and "Friends," which opened and closed side two, made clear Midler could wrap some very complicated emotions in a catchy (but smart) pop tune. 

And the production (half by Joel Dorn, half by Geoffrey Haslam, Ahmet Ertegun, and Midler's then musical director, Barry Manilow) knows when to move in close to catch the sweet grain of her voice and when to step back and take in the whole show. If Midler matured as a performer with time, The Divine Miss M remains her best album, one that captured the many facets of her musical personality beautifully and showed her quirks were a rich part of what made her music so powerful. ~ Mark Deming http://www.allmusic.com/album/the-divine-miss-m-mw0000650495

Personnel: Bette Midler (vocals); David Spinozza (guitar); Gene Orloff, Emmanuel Green (violin); Selwart Clarke (viola); Kermit Moore (cello); Barry Manilow, Pat Rebillot, Dick Hyman (piano); Ron Carter, Milt Hinton (bass); Ralph MacDonald (drums, percussion); Cissy Houston, Melissa Manchester, Gail Kantor (background vocals).

The Divine Miss M Disc 1 And Disc 2

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Paul Bley Trio - Reality Check

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 54:46
Size: 126,3 MB
Art: Front

( 4:43)  1. Reality Check
( 8:14)  2. For George
( 8:21)  3. It Isn't
( 7:59)  4. Above You
( 7:24)  5. I Surrender Dear
(11:11)  6. Do Something
( 6:50)  7. Swan Song

Pianist Paul Bley, whose earliest recordings sound like Al Haig or Bud Powell, took the styles and techniques associated with Oscar Peterson, Wynton Kelly and Bill Evans to new levels of creative experimentation, becoming an indispensable force in modern music by combining the best elements in bop and early modern jazz with extended free improvisation and procedural dynamics often found in 20th century chamber music. This approach places him in league with artists as diverse as Red Garland, Elmo Hope, Mal Waldron, Jaki Byard, Stanley Cowell, Keith Jarrett, Andrew Hill, Lennie Tristano, Cecil Taylor, Ran Blake, Sun Ra, and Marilyn Crispell. Even a cursory overview of Bley's life and work can be pleasantly overwhelming, for he is among the most heavily recorded of all jazz pianists and his story is inextricably intertwined with the evolution of modern jazz during the second half of the 20th century.

Hyman Paul Bley was born in Montreal, Canada on November 10, 1932. A violin prodigy at five, he began playing piano at eight and studied at the McGill Conservatorium, earning his diploma at age eleven. Before long, Hy "Buzzy" Bley was sitting in with jazz bands and had formed his own group. Already a skilled pianist, he landed a steady gig at the Alberta Lounge soon after Oscar Peterson left to begin working for Norman Granz in 1949. The following year Bley continued his musical education at the Juilliard School in New York while gigging in the clubs with trumpeter Roy Eldridge, trombonist Bill Harris, and saxophonists Ben Webster, Sonny Rollins, and Charlie Parker. While enrolled at Juilliard he played in a group with trumpeter Donald Byrd, saxophonist Jackie McLean, bassist Doug Watkins, and drummer Art Taylor. He also hung out at Lennie Tristano's residential studio, absorbing ideas.

Paul Bley's earliest known recordings survive as soundtracks from Canadian television; the first in 1950 with tenor saxophonist Brew Moore and the second in February 1953 with Charlie Parker, special invited guest of the Montreal Jazz Workshop, an artist-run organization Bley helped to establish. His first studio recording date took place in November 1953 with bassist Charles Mingus and drummer Art Blakey. The young pianist's constant interaction with archetypal and influential musicians was phenomenal; he also sat in with trumpeter Chet Baker and saxophonist Lester Young. In 1954 he led three different recording sessions with bassists Peter Ind and Percy Heath, and drummer Alan Levitt. At this stage of his career Paul Bley was an inspired, extremely adept bop pianist whose first decisively innovative period was just about to commence. More... arwulf arwulf  http://www.allmusic.com/artist/paul-bley-mn0000745617/biography

Personnel:  Paul Bley (piano);  Jay Anderson (bass);  Victor Lewis (drums).

Reality Check

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Stanley Cowell - Prayer For Peace

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 58:46
Size: 134,9 MB
Art: Front

(6:47)  1. When Lights Are Low
(6:04)  2. Blues For Rama
(5:18)  3. Time Can Only Tell
(4:13)  4. Japanese Tea House
(6:46)  5. Today, What A Beautiful Day
(4:49)  6. I'll Never Be The Same
(5:02)  7. For James Williams
(8:06)  8. Stealing Gold
(4:24)  9. Chirality
(7:12) 10. Prayer For Peace

For a good part of his career, pianist Stanley Cowell has had greater exposure recording for labels in Europe and Japan than in his native United States. Prayer for Peace marks his first recording in over a decade, though it is immediately apparent that Cowell has not been playing in a vacuum but continuing to evolve. In addition to the seasoned rhythm section, consisting of bassist Mike Richmond and drummer Victor Lewis, the pianist features his daughter Sunny, who sings or plays viola on several tracks. Cowell has long been an underrated composer, and his "Japanese Tea House" conveys a memorable aural portrait of the Far East, with Sunny's viola adding an essential element to this driving post-bop tune. The solo piano composition "For James Williams" was written in memory of the beloved pianist/composer/educator; it's a soulful, intricate blues which captures his spirit perfectly. The leader's demanding "Chirality" is full of sudden shifts in direction, also giving Sunny a chance to show off her improvisational skills on her viola, and her expressive vocals are featured in the swinging opener, Benny Carter's "When Lights Are Low," along with the standard "I'll Never Be the Same," with her father playing Art Tatum-like riffs in spots behind her. Sunny contributed the pop-flavored "Time Can Only Tell," though her adept use of her voice belies her extensive vocal studies. Perhaps Stanley Cowell won't wait a decade before returning to the studio after this outstanding effort. ~ Ken Dryden http://www.allmusic.com/album/prayer-for-peace-mw0002079681

Personnel:  Bass – Mike Richmond;  Drums – Victor Lewis;  Piano – Stanley Cowell;  Viola – Sunny Cowell

Prayer For Peace

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Joe Roccisano - Nonet

Styles: Saxophone Jazz
Year: 1998
File: MP3@224K/s
Time: 59:22
Size: 96,5 MB
Art: Front

(7:12)  1. Moment's Notice
(6:17)  2. Mr. Day
(5:34)  3. Days of Wine and Roses
(6:26)  4. Springsvill
(8:48)  5. Charade
(6:56)  6. Some Other Time
(4:51)  7. So In Love
(7:54)  8. No More Blues
(5:20)  9. America

Joe Roccisano had only a month to live when Nonet was recorded on October 9, 1997 on November 9, the Charlie Parker-influenced alto saxman died of a massive heart attack at the age of 58. For Nonet, his final studio date as a leader, Roccisano led what his friend Phil Woods would term a "little big band" a nine-piece unit that includes, among others, trombonist Conrad Herwig, tenor saxophonist Tim Ries, baritone saxophonist Jack Stuckey, trumpeter Greg Gisbert, pianist Bill Charlap and drummer Terry Clarke. Enjoyable, if conventional, Nonet finds Roccisano sticking with what he did best straight-ahead hard bop and familiar jazz and pop standards such as John Coltrane's "Moment's Notice" and Antonio Carlos Jobim's "Chega de Saudade (No More Blues)." This swan song reminds us that while Roccisano was never an innovator, he was a warm, likable improviser who always swung. ~ Alex Henderson http://www.allmusic.com/album/nonet-mw0000046092

Personnel: Joe Roccisano (alto saxophone); Tim Ries (tenor saxophone); Jack Stuckey (baritone saxophone); Bob Millikan, Greg Gisbert (trumpet); Conrad Herwig (trombone); Bill Charlap (piano); Doug Weiss (bass); Terry Clarke (drums).

Nonet

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Inga Swearingen & The Bill Peterson Trio - Reverie

Size: 144,8 MB
Time: 62:10
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz Vocals
Art: Front

01. Tiptoes (4:11)
02. Black Crow (5:31)
03. Reverie (5:17)
04. Where Flamingos Fly (5:15)
05. Stargazer (6:27)
06. Down By The Riverside (4:40)
07. Happy To Be (3:42)
08. Sunrise (4:01)
09. Stompin' At The Savoy (4:19)
10. Spring Can Really Hang You Up The Most (5:57)
11. Beautiful Love (4:47)
12. Just In Time (3:08)
13. My One And Only Love (4:49)

"Reverie" is an intriguing mix of moody originals and carefully chosen standards. Inga's clear, strong voice paints a colorful landscape of soaring notes and earthy rhythms beautifully framed by Bill Peterson on piano, Jeff Denson on bass and Ronen Itzik on drums.

Reverie

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Jenny Evans - Be What You Want To

Size: 119,1 MB
Time: 51:12
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. The Sunshine Of Your Love (4:15)
02. Be Want You Want To (4:17)
03. Paint It Black (4:19)
04. Englishman In New York (5:09)
05. She's Leaving Home (5:46)
06. Living In The Past (5:20)
07. Oh Darling (4:45)
08. It's Allright (4:52)
09. Death Of A Clown (4:09)
10. Star Song (3:43)
11. A Hard Day's Night (4:30)

Born in London, England, in the lowly outskirts of Beckenham, Jenny Evans is a talented master of many trades. She is an unforgettable jazz singer, but she has also been an actress and lyricist, and she has run a jazz club for five years called Jenny's Place. She has been in musicals such as Blood Brothers, her voice has been used in films, and she even has a M.A. degree in linguistics to fall back on (as if she would ever need to). Evans moved to Munich, Germany, in 1976 to study to be a teacher of music and English. While working toward her degree, she became the lead singer for a band called Old Socks New Shoes. The ragtime numbers she performed with the group slowly blended toward classic jazz. Though she appears comfortable and capable singing anything from Gershwin songs to numbers by the Beatles, her sultry voice seems made just for jazz. In 1997, Evans released her debut album for ENJA Records, Shiny Stockings. The album won her good reviews by many. Girl Talk hit the stores in 1999 with tracks like "Love for Sale," "Mr. Bojangles," and "I Wanna Be Near to You." Evans keeps busy between recordings, playing at many clubs and festivals, and touring in Europe, Germany, Australia, Russia, and Japan. ~ Charlotte Dillon

Be What You Want To

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Lee Konitz & Kenny Wheeler Quartet - Olden Times: Live At Birdland Neuburg

Size: 181,0 MB
Time: 78:18
File: MP3 @ 320K/s
Released: 1999/2016
Styles: Jazz
Art: Front

01. Lennie's (Live) ( 8:09)
02. Where Do We Go From Here (Live) ( 7:34)
03. Kind Folk (Live) ( 8:32)
04. Thingin' (Live) (14:34)
05. On Mo (Live) ( 9:33)
06. Olden Times (Live) ( 4:21)
07. Aldebaran Play Fiddle Play (Live) ( 3:59)
08. Kary's Trance (Live) ( 8:54)
09. Bo So (Live) ( 6:12)
10. No Me (Live) ( 6:25)

This re-release of the 1999 recording Live At Birdland has been remastered for optimal sound quality and includes a bonus track not previously included on the album. Lee Konitz was born in 1927 in Chicago. When he was 11 years old, he received his first instrument, a clarinet, but later dropped the instrument in favor of the tenor saxophone. He eventually moved from tenor to alto. His greatest influences at the time were the Swing big bands he and his brother listened to on the radio, in particular Benny Goodman. He started his professional career in 1945, and played with all the greats, from Miles Davis to Joe Henderson. Kenny Wheeler was born in 1930 in St. Catharines, Ontario. He studied trumpet in Toronto and moved to London in 1952. Versatile artist as he was, he played free improv in the Globe Unity Orchestra of Alexander von Schlippenbach as well as jazz-rock in the United Jazz & Rock Ensemble. He passed away on September 18, 2014. Light shines on this rerelease, on the glistening vibrato of the alto saxophone, the lyrical melancholy of the flugelhorn, the spinning web-like weaving of the piano as well as the clever architecture of the bass. Everything joins into a shimmer mesh of interaction and strategy of technical brilliance and solo sophistication.

Olden Times

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Sue Raney - Christmas Lady

Size: 106,1 MB
Time: 39:00
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Xmas
Art: Front

01. Christmas Lady (2:57)
02. The Most Wonderful Time Of The Year (2:32)
03. A Christmas Love Song (4:31)
04. The Christmas Waltz (3:01)
05. A Marshmallow World (3:01)
06. Christmas Time Is Here - From A Charlie Brown Christmas (2:54)
07. Silver Bells (3:10)
08. White Christmas (2:35)
09. I'll Be Home For Christmas (3:29)
10. Merry Christmas, Darling (2:26)
11. We Need A Little Christmas (1:58)
12. The Christmas Song (3:17)
13. Silent Night (3:03)

Blessed with a beautiful voice from an early age, Sue Raney has performed music ranging from swinging jazz and ballads to cabaret, middle-of-the-road pop and jingles. Her mother was a singer and a great great aunt had been in German opera. Raney started singing when she was four and a year later she first performed in public, at a party in Wichita, Kansas. Because a voice teacher could not be found for her daughter (because of her extreme youth), Raney's mother took voice lessons herself and then passed down what she learned to Sue. A professional before she was a teenager, Raney worked steadily in New Mexico when her family relocated and took several trips out to Los Angeles during a couple of summer vacations. She joined the Jack Carson radio show in 1954 in L.A. when she was barely 14. Raney then appeared on Ray Anthony's television program and became his band's main vocalist. At 18 she started working as a single. She had already recorded for Phillips and then signed with Capitol, recording several middle-of-the-road jazz-influenced pop dates for the company. In the 1960's Raney often appeared on television variety shows, she led her own group and became very active in the studios where her impressive voice helped sell products. By the early 1980's, she was also working as a voice teacher. In the 1990's Sue Raney has sung with the L.A. Voices and Supersax, the Bill Watrous big band and as a single in addition to staying active as a jazz educator and in the studios. Her main jazz recordings were a trio of albums for Discovery in the 1980's; a VSOP/Studio West CD features the singer on various live performances from the 1960's. ~ Scott Yanow

Christmas Lady

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Girls From Mars - Return To Planet Swing

Size: 103,9 MB
Time: 44:12
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Retro Swing
Art: Front

01. Let Me Off Uptown (2:55)
02. Hit That Jive Jack (4:21)
03. Blue Drag (3:44)
04. Don't Blame Me (4:04)
05. Take The A Train (4:11)
06. Daddy Daddy (3:26)
07. On The Sunny Side Of The Street (3:04)
08. Rhythm Town (2:48)
09. Comes Love (3:06)
10. Meet Me With Your Black Drawers On (3:49)
11. Left With The Thought Of You (2:53)
12. Sway (2:56)
13. Drum Boogie (2:48)

Girls From Mars (Wendi Bourne, Lauren Janson & Annie Patterson) have been singing Jazz & Swing for over 30 years. Their much anticipated CD, Return to Planet Swing, is now available here! Produced by Glenn Barratt & Wendi Bourne and recorded at 2x Grammy award winning engineer/producer Glenn Barratt's Morning Star Studios. Barratt captures perfectly the deep, swingin' groove that has become the band's hallmark.

Their previous CD, "Planet Swing" has been selling around the world for the past decade, loved by those who appreciate old swing music that is not "schmaltzed up". The Girls call it "Cave Man Jazz". On both "Planet Swing" and "Return to Planet Swing", a three or four part rhythm section holds down the groove and sets up the pocket - the vocals deepen the pocket. Great instrumental soloists are the "cherry on top" !

The Martians are accompanied by some of the best in the business on this record: Ralph Gordon - bass, Howard Sitron - trumpet, Myles Rothwell and Matt Scarano - drums, Dave Posmontier - piano, Tom Mitchell - guitar, Ron Kerber - Sax and the list goes on. The Girls From Mars' stellar three part harmony can be heard on such tracks as Let Me Off Uptown, Hit That Jive Jack, Blue Drag, Take the A Train, Sunny Side of the Street and more.

Return To Planet Swing

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Jan Garbarek - Star

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 42:24
Size: 97,2 MB
Art: Front

(6:15)  1. Star
(4:21)  2. Jumper
(6:08)  3. Lamenting
(6:16)  4. Anthem
(5:39)  5. Roses For You
(4:38)  6. Clouds In The Mountain
(5:21)  7. Snowman
(3:42)  8. The Music Of My People

Saxophonist Jan Garbarek, bassist Miroslav Vitous and drummer Peter Erskine have been making records for ECM for a long time, both as leaders and as sidemen. They know each other's styles well, they're familiar with ECM label head Manfred Eicher's echo-drenched production tendencies, and they know how to turn jazz formulas into hip, lyrical romanticism. On this leaderless trio album, as with most ECM releases, you get the feeling of music emerging from a vast and echoey space; Erskine's Morse-code drum accents, Vitous' thrumming basslines and the plaintive cry of Garbarek's soprano and alto saxophones are far removed from what some would consider "jazz," but that's not the point. The tunes may be somewhat interchangeable, but the music is virtuosic, thoughtful and thoroughly lovely, at times heart-tugging. Makes you wish these three would get together more often. ~ Rick Anderson http://www.allmusic.com/album/star-mw0000677682

Personnel:  Jan Garbarek - soprano saxophone, tenor saxophone;  Miroslav Vitous – bass;  Peter Erskine - drums

Star

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Frank Foster - Manhattan Fever

Styles: Saxophone And Clarinet Jazz
Year: 1969
File: MP3@320K/s
Time: 75:51
Size: 174,0 MB
Art: Front

( 7:01)  1. Little Miss No Nose
(10:33)  2. Manhattan Fever
( 2:58)  3. Loneliness
( 5:46)  4. Stammpede
( 3:29)  5. You Gotta Be Kiddin'
(11:50)  6. Seventh Avenue Bill
( 7:07)  7. Slug's Bag
( 9:24)  8. What's New From the Monster Mi
( 7:27)  9. Hip Shakin'
( 3:29) 10. The House That Love Built
( 6:41) 11. Fly By Night

Frank Foster has been largely defined in jazz circles by his long association with Count Basie (Foster was with Basie from 1953 until 1964 and led the orchestra for nine years following Basie's death), but the tenor saxophonist, composer, and arranger led his own recording session as early as 1954 when he cut a 10" LP for Alfred Lion's Blue Note Records. He returned to Blue Note in 1968 and recorded Manhattan Fever, and material for yet another album was cut at a session held later in 1969. Manhattan Fever had disappointing sales, however, and the 1969 sides ended up not being released as planned. This CD reissue adds some of that 1969 material to the original Manhattan Fever track listing, and it makes for a much stronger and more varied set. Highlights include the lovely "Loneliness" from the original LP and the starkly beautiful ballad "The House That Love Built," and a wonderfully wobbling and woozy version of Rahsaan Roland Kirk's "Fly by Night" from the 1969 sessions. Foster's compositional (he wrote all but three of the eleven selections here) and arranging talents are at center stage, but when he steps out front as a soloist like he does on "The House That Love Built," he shows why he is a top line tenor sax player. ~ Steve Leggett  http://www.allmusic.com/album/manhattan-fever-mw0000779830

Personnel: Tracks 1-6 Frank Foster: tenor sax;  Marvin Stamm: trumpet;  Garnett Brown: trombone;  Richard Wyands: piano;  Bob Cranshaw: bass;  Mickey Roker: drums.  Tracks 7-11 Frank Foster: tenor sax/clarinet;  Burt Collins: trumpet/piccolo trumpet;  Jimmy Cleveland: trombone;  Ed Pazani: alto sax/flute/oboe;  George Cables: piano;  Buster Williams: bass;  Mickey Roker: drums.

Manhattan Fever

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JP Schlegelmilch - Throughout: The Music Of Bill Frisell

Styles: Solo Piano
Year: 2013
File: MP3@320K/s
Time: 40:42
Size: 97,3 MB
Art: Front

(4:56)  1. Throughout
(4:31)  2. Rag
(3:42)  3. Resistor
(3:21)  4. This Land
(4:04)  5. Hangdog
(4:01)  6. Monica Jane
(2:38)  7. Jimmy Carter
(5:40)  8. Child At Heart / Beautiful E
(3:26)  9. Twenty Years
(4:18) 10. Deep Dead Blue

JP Schlegelmilch is a Brooklyn-based pianist, accordionist, electric keyboardist and composer. Born in New Hampshire, JP began instruction in classical piano at age 6 and went on to study music at Berklee College of Music and SUNY Purchase. After moving to Brooklyn in 2006, JP began performing with his own groups and has also had the opportunity to perform with some of New York’s most esteemed improvising musicians. JP’s current projects include the indie-jazz-folk ensemble Old Time Musketry, which features his unique approach to the accordion as well as piano and electric keyboards. The band’s first album “Different Times” was released in 2012 and received much critical acclaim, including a 4-star review in Downbeat magazine. It was also mentioned on several “Best Albums of 2013” lists by journalists George Grella and Tom Hull.

In 2013 JP released his first solo piano recording, “Throughout”, which focused on the compositions of iconic guitarist Bill Frisell. The album was called “a warm and elegant new solo effort" by Time Out New York, and was mentioned on a “Best Jazz Albums of 2013” list on the Big City Blog. In addition to his own groups, JP has toured with the indie-classical chamber group Fireworks Ensemble; performed with avant-jazz legend Tim Berne; and played on the soundtrack to the Oscar-nominated film Beasts of the Southern Wild. JP also frequently plays with rock bands and has toured the country with the chamber-pop group The Silent League, and the indie rock singer Abby Payne. In each musical project JP seeks to synthesize his diverse musical interests, creating a personal and non-genre-specific music. He strives to continually enrich his musical language through studying various musical traditions including jazz, experimental music, classical music, and folk music from around the world. http://jpschlegelmilch.com/about/

Personnel: JP Schlegelmilch (piano)

Throughout: The Music Of Bill Frisell

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Cory Weeds Quintet - It's Easy To Remember

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 52:57
Size: 121,4 MB
Art: Front

(6:16)  1. With Prestige
(5:54)  2. Emily
(5:47)  3. Smoke Gets In Your Eyes
(5:42)  4. Expose
(5:24)  5. Candy Man
(5:53)  6. It's Easy To Remember
(6:06)  7. Bossa For All
(5:56)  8. Kelp
(5:55)  9. The Mabe

A tenor saxophonist with an expressive sound rooted in Jazz tradition, a label owner tirelessly documenting unsung Jazz heroes, one of Canada’s most important Jazz impresarios, the hardest-working man in Jazz business – Cory Weeds is all of these things, and much more. Weeds may be best known as the founder and owner of Cory Weeds’ Cellar Jazz Club in Vancouver, which he successfully ran for more than 13 years. Weeds built the Cellar to become one of North America’s best Jazz clubs, where masters such as George Coleman, Jeff Hamilton, Louis Hayes, David “Fathead” Newman, Dr. Lonnie Smith, and the finest Jazz musicians from Vancouver and across Canada performed before it closed in February 2014. But he wasn’t just the club owner. As a saxophonist who studied at the University of North Texas and Capilano College, Weeds spent many nights on the Cellar bandstand as a leader and sideman. He held his own when performing with icons like Joey DeFrancesco and Christian McBride. Weeds has also recorded eleven albums as a leader, including: It’s Easy To Remember (with David Hazeltine, Joe Magnarelli, Paul Gill and Jason Tiemann)  This Happy Madnes, (with The Jeff Hamilton Trio),  Condition Blue, The Music Of Jackie McLean (with Peter Bernstein, Mike LeDonne, and Joe Farnsworth)., As Of Now(with the Harold Mabern Trio), Let’s Go (with Steve Davis), the Juno-nominated Up A Step(Cory Weeds Quartet), With Benefits (with Lewis Nash and Peter Washington), Just Like That(with the Tilden Webb Trio), The Many Deeds of Cory Weeds (with Joey DeFrancesco),Everything’s Coming Up Weeds (with Jim Rotondi), and Big Weeds (with Peter Bernstein, Mike LeDonne, and Joe Farnsworth).

While the Cellar is now a happy memory, the record label Weeds established in 2001 is alive and well. Cellar Live has put out over 100 recordings, including many that have spent extensive time on the JazzWeek charts, with many more releases planned. In addition to playing on numerous sessions, Weeds has also served as producer on more than 80 recordings. On the presentation front, Weeds is employed full-time by Coastal Jazz & Blues (the producers of the annual TD International Jazz Festival) where he serves as Programming Manager for Clubs & Special Projects. Cory Weeds Presents also presents music all over the city at various venues including The Italian Cultural Center, Hycroft at The University Women’s Club and Blue Frog Studios in White Rock. Beyond Vancouver, Weeds has a strong affinity with New York City. He brought so many of the Jazz mecca’s top players to his club, and has performed, toured, and recorded with many of them. Tapping in to his insider knowledge of the New York scene, he has led the New York With Weeds tour to NYC four times. Weeds leads about 40 Jazz lovers on each tour to Jazz clubs off the beaten track and private recording sessions. The sixth tour in March 2016 sold out in record time and 2017 will see the group head to Chicago, Illinois. Finally, Weeds has also worked as an educator, leading the BC Music Educators Association’s Honour Ensemble, giving clinics, and teaching privately. He has also been a Jazz disc jockey on Vancouver Co-Op Radio. http://coryweeds.com/bio/

Personnel:  Cory Weeds - tenor saxophone, Joe Magnarelli - trumpet, David Hazeltine - piano, Paul Gill - bass, Jason Tiemann - drums

It's Easy To Remember

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Thad Jones, Pepper Adams Quintet - Mean What You Say

Styles: Flugelhorn And Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 41:14
Size: 98,1 MB
Art: Front

(4:36)  1. Mean What You Say
(7:42)  2. H And T Blues
(4:55)  3. Wives And Lovers
(3:23)  4. Bossa Nova Ova
(4:38)  5. No Refill
(6:30)  6. Little Waltz
(5:20)  7. Chant
(4:07)  8. Yes Sir, That's My Baby

A classic set recorded for Milestone and reissued under the OJC imprint, this date is co-led by Thad Jones (heard throughout on flügelhorn) and baritonist Pepper Adams; pianist Duke Pearson, bassist Ron Carter, and drummer Mel Lewis complete the band. The high-quality hard bop unit performs four of Jones' originals, a song apiece by Carter and Pearson, and Burt Bacharach's "Wives and Lovers" and "Yes Sir, That's My Baby." Jones and Adams always made for a potent team, but the rise of the Thad Jones/Mel Lewis Orchestra meant that this particular quintet only lasted a short time. ~ Scott Yanow http://www.allmusic.com/album/mean-what-you-say-mw0000309726

Personnel:  Thad Jones- flugelhorn;  Pepper Adams - baritone saxophone;  Duke Pearson – piano;  Ron Carter – bass;  Mel Lewis - drums

Mean What You Say

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Joanie Sommers - Hits and Rarities

Styles: Jazz, Vocal
Year: 1995
File: MP3@320K/s
Time: 77:38
Size: 179,1 MB
Art: Front

(2:47)  1. Don't Pity Me
(2:20)  2. If You Love Him
(2:32)  3. Johnny Get Angry
(2:01)  4. One Boy
(2:13)  5. When the Boys Get Together
(2:54)  6. Summertime
(2:17)  7. My Heart Belongs to Daddy
(2:12)  8. That Old Devil Moon
(2:19)  9. Little Girl Bad
(2:04) 10. Bobby's Hobbies
(2:53) 11. What's Wrong with Me?
(2:31) 12. Let's Talk about Love
(2:17) 13. Henny-Penny
(2:26) 14. A Little Bit of Everything
(2:09) 15. Why Don't You Do Right?
(2:46) 16. I'm Gonna Know He's Mine
(3:03) 17. I'd Be So Good to You
(2:21) 18. Theme from A Summer Place
(1:59) 19. Memories, Memories
(2:30) 20. Mean to Me
(2:28) 21. Goodbye Summer
(2:40) 22. My Block
(2:30) 23. Since Randy Moved Away
(1:59) 24. Goodbye Joey
(2:25) 25. I Can't Believe That You're in Love with Me
(2:28) 26. I'm Nobody's Baby
(2:12) 27. There's No Such Thing
(3:16) 28. I'll Never Stop Loving You
(2:36) 29. Call Me
(3:22) 30. Out of This World
(2:52) 31. A Lot of Livin' to Do

Joanie Sommers scored her biggest chart success with "Johnny Get Angry" in 1962. The single, her second solo release, peaked at the number seven spot and charted for more than two months. Her first solo record, "One Boy," was a number from the musical Bye Bye Birdie and only hit number 54 in 1960. She continued to record through the decade, but never had another winner that rose as high on the charts as "Johnny Get Angry." She later achieved a different kind of success in commercials with several different jingles that she sang for Pepsi during the '60s and again two decades later. (The title of one of her later albums, Come Alive, was even derived from one of the Pepsi ad campaigns.)

Sommers, whose real name is Joan Drost, was born in New York but grew up in California. During her high school and college years, she sang in school bands. She was 18 years old when Warner Bros. signed her to a contract in 1959 and paired her with Edd Byrnes on one of his singles. She also had a small role in 77 Sunset Strip, the television series that featured Byrnes in the role of Kookie. In addition, she sang on Byrnes' "I Don't Dig You" and "Hot Rock," which appeared on one of his albums. Sommers released an album of her own, the jazz-oriented Positively the Most, and it helped establish her presence in easy listening and adult circles. Fans and critics often cite her 1965 album, Softly the Brazilian Sound, as one of her best efforts.

In 1966, the singer signed with Columbia Records. One of her following recordings was a version of "Alfie," which both Cher and Dionne Warwick also covered it. While Sommers' version didn't get the notice that the other two did, she had the satisfaction of placing in the Top Ten in the easy listening category. She also appeared in On the Flip Side, a television special that starred Rick Nelson. The show's soundtrack contains two versions of "Try to See It My Way," one of which is a duet with Nelson while the other is a Sommers solo. The singer, married with three children, stepped out of the spotlight as the '70s approached. Before retiring, she made numerous television appearances on the shows of Johnny Carson, Dinah Shore, Dean Martin, Mike Douglas, Bobby Darin, and others. Sommers started singing and making appearances again during the '80s. ~ Linda Seida http://www.allmusic.com/artist/joanie-sommers-mn0000784759/biography

Hits and Rarities

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Bill Evans - Escape

Styles: Saxophone Jazz, Jazz Fusion
Year: 1996
File: MP3@320K/s
Time: 74:09
Size: 171,2 MB
Art: Front

(5:34)  1. Swing Hop
(5:59)  2. Escape
(6:19)  3. Reality
(6:00)  4. The Sunday After
(4:38)  5. Rattletrap
(5:15)  6. Flash In Dreamland
(7:39)  7. Coravilas
(4:55)  8. Easilee
(5:27)  9. Undercover
(5:55) 10. La Di Da
(4:38) 11. Armsakimbo
(6:15) 12. Aftermath
(5:30) 13. Undercover (Remix - Marcus' Mad Flav)

From Miles Davis' Doo-Bop to albums by Greg Osby and Steve Coleman, much of the "jazz/rap fusion" released has been more hip-hop than jazz essentially, hip-hop with jazz overtones. Bill Evans, however, has featured rappers in much the way a hard bopper would feature a singer -- on "Reality" and the poignant, reggae-influenced "La Di Da," rapper Ahmed Best successfully interacts with an actual, spontaneous, improvisatory band instead of merely pre-recorded tracks. Best's rapping style a cerebral approach akin to De La Soul and A Tribe Called Quest instead of more hardcore rappers like Tupac Shakur and Ice-T  is well-suited to this challenging and complex jazz-fusion setting. On the instrumental side, Escape's triumphs range from the hard-edged jazz-funk pieces "Undercover" and "Rattletrap" to the sensuous, Brazilian-influenced "Coravillas." Though capable of tenderness and vulnerability, Evans has the good sense to avoid bloodless "smooth jazz" altogether. ~ Alex Henderson http://www.allmusic.com/album/escape-mw0000647830

Personnel: Bill Evans (soprano, alto & tenor saxophones, background vocals); Mark Ledford, Loni Groves, Robin Beck, M.C.900 FT JESUS (vocals); Ahmed Best (rap vocals); Wallace Roney (trumpet); Ken Meccia (trombone); Chelsea Orchestra (strings); Jim Beard (Hammond B-3 organ, keyboards, bass, drums, programming, loops, background vocals); Jon Herington, Gary Poulson, Lee Ritenour, Nick Moroch (guitar); Ron Jenkins, Victor Bailey, Mark Egan, Marcus Miller (bass); Max Risenhoover, Billy Kilson, Steve Ferrone (drums); Manolo Badrena (percussion, background vocals); Nalini (background vocals). .

Escape

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Gail Jhonson - Keep The Music Playing

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 42:02
Size: 96,5 MB
Art: Front

(0:21)  1. Intro/Gail & Genie
(4:05)  2. Just For Kicks
(4:18)  3. Heaven
(4:12)  4. How Do You... Playing?
(3:46)  5. Soleh
(4:07)  6. I Wanna Love You
(3:40)  7. I'll Be Around
(4:55)  8. Gimme Your Groove
(4:48)  9. Goodnight
(4:02) 10. Sunrise
(3:44) 11. Take What You Need

Gail is definintely keeping the music playing in 2009!  Pearls...the new CD by Gail Jhonson is now signed by NuGroove Records, based in Moorestown NJ. This Cd follows her well-received musical tracks from her 2004 release Keep The Music Playing  ... which starts off with a lively tune called “Just For Kicks”, with Norman Brown on wah-guitar & "Big Game" James Manning on bass. Followed by the classic "Heaven" by BeBe & CeCe Winans. “How Do You Keep the Music Playing”, beautifully presented in the contemporary jazz style... with a feminine touch! "Soleh" is a duet with jazz superstar Norman Brown and bassist extraordinaire Sekou Bunch. “I Wanna Luv U” is a ballad that brings to mind the great songs of yesterday, featurning upcoming producer/songwriter Addam "Gift" Driver and the sweet voice of Charlia. And then there is “I’ll Be Around” a remake of the Spinners smash hit! Pamela Williams on sax lends her groove to “Gimme Your Groove”. Gail lays it back with “Goodnight” a slow groove, and “Sunrise” wakes you up as only Vidais Lovette can with the vocals. “Take What You Need” invites you in and leads you to a “Tropical Island” where Gail Keeps The Music Playing for you!

Born and raised in the city of Philadelphia, Gail Denise Jhonson began piano lessons in elementary school at age 10. Proving to be a gifted student she advanced quickly and played her 1st gig’s at age 14 playing organ with numerous local Funk and R&B bands. On her musical pursuit, by 18 she enrolled into Berklee College of Music and later received a B.A. in composition. Returning home, as a “jazz pianist”, Gail performed with several jazz bands, and other popular Philadelphia artists. She left Germantown in 1985, with her keyboard strapped on and landed an audition with Morris Day (of the “Time”). She eventually moved to Los Angeles to make her dream career come true!  By 2004, Keep The Music Playing, Gail Jhonson’s highly acclaimed debut contemporary jazz CD on her own (Philly The Kid Records), brought her into the international recording spotlight. Led by the hit singles Heaven and Just For Kicks the CD received strong support from the music industry ((“I have shared the stage with Gail many times, and have always found it to be musically inspiring. She has years of experience supporting countless artists but it’s so good to hear her step up, front and center and embrace the spotlight as a solo artist. She does so with grace, elegance, musical integrity and a whole lot of style!” Dave Koz).) and heavy spins on many of the nations smooth jazz stations; Gail’s solo career is now cemented in success!  Gail additionally works as the music director, keyboardist and vocalist for smooth jazz super star guitarist and vocalist Norman Brown where Gail is quite busy. In 2005 the nations highly successful and much anticipated Norman Brown’s Summer Storm Tour was launched with special guest Peabo Bryson, Everett Harp & Brenda Russell followed by the major success of the 2006 Summer Storm 2 Tour with special guest Patti Austin, Alex Bugon and Paul Taylor!!

In addition to putting the finishing touch’s on her follow up to the Keep The Music Playing CD, which is slated for a September 2007 release, Gail is currently working on the music for Summer Storm 3 with this year’s special guest Jeff Lorber and Marion Meadows!!  Gail recently competed in the Capitol Jazz Challenge, Washington DC and last year performed for four weeks in Austrailia with Rain Pryor’s Fried Chicken & Latkas. While there Gail had the extreme pleasure of performing with Abarigal jazz musicans, an experience Gail calls “exhilirating” and looks forward to recording!!  In past years, she has performed with Pink, Minako Honda, Norman Brown, Vanessa Williams, Bobby Lyle/featuring Mindi Abair, Jermaine Jackson, and Morris Day. With early influiences of Duke Ellington and Herbie Hancock and later Stevie Wonder and Joe Sample Gail has recorded with Bobby Womack, Ray Parker Jr. Vesta, Howard Hewitt, Brian Culbertson, OC Smith, Paul Jackson Jr. Pamela Williams, Phil Perry and yes Milli Vanilli. Her various television performances include: BET on Jazz, MTV, Lou Rawls/Parade of Stars, Soul Train, The Tonight Show and numerous video performances.  Gail also has a love for theatre, particularly Gospel Musicals. Her first professional experience was offered as a piano substitute for the stage play Eubie, at the Ivar Theatre, in Hollywood. She soon began playing for a Langston Hughes play, Tamborines to glory, directed by the late Lincoln Kilpatrick, at The Bradley Theatre also in Los Angeles.  Thereafter, she was scoring and was the music director for gospel performances Saving Grace and Reason for the Season, written by Dennis Rowe. In 2003, Gail produced the Saving Grace Cd, with performances by a muti-talented cast including her son, rap artist/producer VEIN and her daughter Tamina, a wonderful vocalist and budding musician.  Presently, Gail finds time to for songwriting, producing, and piano instruction. She has written, Funk Keyboards, a contemporary guide to chords, rhythms and licks and Dictionary of Keyboard Grooves published by Hal Leonard as part of Los Angeles Musician's Institute Master Class Series. Gail is a member of Musicians Union (local 47), Bmi, Naras and has a Certificate of Service, Music Education-Post-secondary/State of California. http://www.cdbaby.com/cd/jhonson

Keep The Music Playing

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Frank Foster - The House That Love Built

Styles: Saxophone Jazz
Year: 1982
File: MP3@256K/s
Time: 53:57
Size: 99,4 MB
Art: Front

( 7:51)  1. I Remember Sonny Stitt
( 7:42)  2. The House That Love Built
( 8:14)  3. John R. And Garfield
( 9:58)  4. Scandia Skies
( 9:30)  5. Lightly Stroking
(10:39)  6. Dunbar's Delight

A very talented tenor saxophonist and arranger, Frank Foster was associated with the Count Basie Orchestra off and on from 1953 to 1995. Early on, he played in Detroit with many talented local players and, after a period in the Army (1951-1953), he joined Basie's big band. Well featured on tenor during his Basie years (1953-1964), Foster also contributed plenty of arrangements and such originals as "Down for the Count," "Blues Backstage," and the standard "Shiny Stockings." In the latter half of the 1960s, Foster was a freelance writer. In addition to playing with Elvin Jones (1970-1972) and occasionally with the Thad Jones/Mel Lewis Orchestra, he led his Loud Minority big band. In 1983, Foster co-led a quintet with Frank Wess and he toured Europe with Jimmy Smith in 1985. Although influenced by John Coltrane in his playing, Foster was able to modify his style when he took over the Count Basie ghost band in 1986, revitalizing it and staying at the helm until 1995. 

Outside of his Basie dates, Foster led sessions for Vogue, Blue Note (1954 and 1968), Savoy, Argo, Prestige, Mainstream, Denon, Catalyst, Bee Hive, SteepleChase, Pablo, and Concord. Foster suffered a stroke in 2001 that prevented him from playing the saxophone, but he continued to compose and arrange music during the first decade of the new millennium. He died at home in Chesapeake, Virginia in late July 2011; Frank Foster was 82 years old. ~ Scott Yanow https://itunes.apple.com/us/artist/frank-foster/id949560#fullText

Personnel:  Bass – Jesper Lundgård;  Drums – Aage Tanggaard;  Piano – Horace Parlan;  Tenor Saxophone, Composed By – Frank Foster

The House That Love Built

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