David Murray Cuban Ensemble - Plays Nat King Cole

Bitrate: MP3@320K/s
Time: 75:02
Size: 171.8 MB
Styles: Latin jazz rhythms
Year: 2011
Art: Front

[9:18] 1. El Bodeguero
[6:05] 2. Quizás, Quizás, Quizás
[8:27] 3. Tres Palabras
[7:10] 4. Piel Canela
[8:03] 5. No Me Platiques
[6:40] 6. Black Nat
[6:42] 7. Cachito
[6:22] 8. A Media Luz
[7:48] 9. Aqui Se Habla En Amor
[4:35] 10. El Choclo
[3:47] 11. Quizás, Quizás, Quizás [radio Edit]

David Murray: conductor, arranger, tenor saxophone, bass clarinet; Daniel Melingo: vocals (2, 8, 10,11); Juanjo Mosalini: bandoneón (11); Roman Filiu Oreilly: alto saxophone; Ariel briguez Ruiz: tenor saxophone; Mario Felix Hernandez Morrejon: trumpet; Franck Mayea Pedroza: trumpet; Denis Cuni Rodriguez; trombone; Abraham Mansfarroll Rodriguez: congas; Reiner Elizarde ruano: bass; Jose "Pepe" Rivero: bass. Sinfonieta of Sines: Jose Avelino Castro Pinto: artistic coordinator; Rui Guimaraes: violin; Joana Cipriano: violin; Joao Andrade: violin; Joana Dias: violin; Maria Jose Laginha: violin; Joao Gaspar: viola; Goncalo Ruivo: viola; Tiago Vila: cello; Catarina Anacleto: cello; Rita Ramos: cello; Samuel Santos: cello.

Latin music has culturally been intended for dancing and romancing. Any Latin singer or orchestra worth a cover charge has known this, and David Murray the innovative saxophonist absorbing the role of conductor/arranger on Plays Nat King Cole En Español, demonstrates this concept perfectly. In taking on a project that updates the recordings Nat "King" Cole did in Spanish and Portuguese in 1958 and 1962, Murray maintains the genuine savor of the original compositions, while broadening them to assimilate contemporary improvisation. The crowded dance floors during the golden age of the mambo and cha cha in such legendary clubs as Havana, Cuba's Tropicana or New York City's Palladium come instantly to mind with the opening "El Bodeguero," and that's just the beginning.

The repertoire is perfectly poised from up-tempo numbers to simmering ballads, which are required for the legitimate ethnic experience. Daniel Melingo, a raspy voiced Argentine, is the vocalist on the traditional bolero "Quizás, Quizás, Quizás," and the tangos "A Media Luz" and "El Choclo." Melingo delivers with a sincerity the amorous predicaments demand. "Tres Palabras," an instrumental bolero, is given a bluesy intro by trumpeter Mario Felix Hernandez Morejon, setting up the saxophones which follow. The enduring Puerto Rican standard "Piel Canela," Mexico's "Cachito," and the song written specifically for Cole, "Aqui Se Habla En Amor," are perfect showcases for Murray to display his virtuosity and domination of this complex genre. Kudos all around for the musicianship of the selected soloists, obviously inspired by Murray, who clearly leads by example.

Murray handpicked his Cuban musicians, which he recorded with in Argentina, and recorded the Sinfonieta of Sines in Portugal, for the string orchestrations, thus emulating the vintage Latin big bands of yesteryear compounded with the lush string arranging of the crooner era. Plays Nat King Cole En Español, is wonderful music intended for dancing and romancing. ~James Nadal

Plays Nat King Cole

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Jeanette Lindstrom Quintet - Another Country

Bitrate: MP3@320K/s
Time: 68:13
Size: 156.2 MB
Styles: Contemporary jazz
Year: 1995
Art: Front

[7:24] 1. Greenwillow Never Will I Marry
[5:41] 2. Another Country
[5:39] 3. All The World's Stage
[6:15] 4. It Don't Come Easy
[1:46] 5. Cold
[3:53] 6. The Answer
[4:18] 7. Meeting
[5:09] 8. Street Scene Lonely House
[5:03] 9. Wives And Lovers
[8:01] 10. White Lady In The Window
[8:36] 11. Competition
[6:21] 12. One Touch Of Venus Speak Low

Double Bass – Dan Berglund; Drums, Percussion – Magnus Öström; Piano – Torbjörn Gulz; Saxophone – Örjan Hultén; Vocals, Producer – Jeanette Lindström.

Jeanette Lindstrom's promising debut album was titled Another Country because instead of being recorded in her native Sweden, it was done in Copenhagen with Danish players. But most of the time, this risk-taking CD sounds like it could have been recorded in New York or Chicago. Though slight traces of a Scandinavian accent come through on occasion, Lindstrom often sounds like she could be African-American. The jazz singers she brings to mind include Abbey Lincoln and Dianne Reeves, and Lindstrom's phrasing also gives the impression she has much spent time listening to a lot of 1970s and 1980s R&B. But while comparisons are well and good, Lindstrom never sounds like she's actually emulating anyone. Whether the impressionistic post-bop singer is interpreting the lyrics to "Speak Low," "Never Will I Marry" and "Wives and Loves" or scatting on her wordless "Competition," Another Country is clearly the work of someone who had developed a recognizable style of her own. ~Alex Henderson

Another Country

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Buddy Knox - The Best Of Buddy Knox

Bitrate: MP3@320K/s
Time: 32:30
Size: 74.4 MB
Styles: Rock n roll, Rockabilly
Year: 1990/2005
Art: Front

[2:15] 1. Party Doll
[2:24] 2. Rock Your Little Baby To Sleep
[2:19] 3. Teasable, Pleasable You
[2:02] 4. Storm Clouds
[2:19] 5. Somebody Touched Me
[2:00] 6. That's Why I Cry
[2:23] 7. Hula Love
[2:12] 8. Devil Woman
[2:05] 9. I Think I'm Gonna Kill Myself
[1:48] 10. Cause I'm In Love
[1:50] 11. Swingin' Daddy
[2:05] 12. C'mon Baby
[2:10] 13. All For You
[2:36] 14. The Girl With The Golden Hair
[1:58] 15. Whenever I'm Lonely

Rhino's The Best of Buddy Knox is a definitive compilation featuring all of the hits the light rockabilly cat ever had, including "Party Doll," "Rock Your Little Baby to Sleep," "Hula Love," "Swingin' Daddy," "Somebody Touched Me," "Teasable, Pleasable You," "That's Why I Cry," and "I Think I'm Gonna Kill Myself." ~Stephen Thomas Erlewine

The Best Of Buddy Knox

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Martin Sasse Trio - European Standard Time

Bitrate: MP3@320K/s
Time: 62:05
Size: 142.1 MB
Styles: Bop, Piano jazz
Year: 2011
Art: Front

[4:56] 1. Mode Forbode
[5:24] 2. Quand Laura … Me Tend Ses Bras
[4:54] 3. More Than Ever
[6:14] 4. Ballad Pour Pipette
[5:17] 5. King Kombo
[8:21] 6. I've Got Another Rhythm
[8:59] 7. Sergio
[4:54] 8. Close Encounters
[6:03] 9. Metronome
[6:59] 10. Here Comes The Sun

Martin Sasse Trio: Martin Sasse (piano), John Goldsby (bass), Hendrik Smock (drums). rec. 7 June 2009, live at Telos Akademia, Mechernich-Floisdorf.

This live gig from the Martin Sasse Trio was recorded in June 2009 and the conceit is that the programme is all-European. In his notes Sasse modestly avoids mentioning that one of the tracks is his own Metronome, but other Euro composers include such well known names as English saxophonist Iain Bellamy and the French guitarist Serge Lazarevitch, amongst others. The nationality of each composer is proudly noted in the booklet, so fans of such things can ponder the implications of such a line-up.

The Sasse trio is an articulate, tight knit group, and its bop stylings are well deployed in this set. It's as good in the straight ahead Bellamy Mode forbode as it is in Lazarevitch's warmly lyrical chanson, Quand Laura me tend ses bras, with its echoes of Keith Jarrett in My Back Pages mode. Roman Schwaller, the Swiss saxophonist, contributes Ballad pour Pipette which, once again, calls for a degree of introspection and phrasal warmth, both of which are duly provided, not least in the reflective bass solo from John Goldsby, the American who sneaks in via German residence to contribute Sergio - complete with a long solo for himself, a vibrant Latino feel, and suitably eclectic drum breaks.

King Kombo is an appealingly swinging theme from the pen of Belgian trumpeter Bert Joris. The angular I've got another rhythm was written by another trumpeter, this time Denmark's Alan Botschinsky and it includes an opportunity for drummer Hendrik Smock to parade his wares, and so too the leader via a propulsively swinging solo, and Goldsby's arco solo. Not everything really sticks in the mind; Paul Heller's Close Encounters isn't much of an encounter at all, but Sasse's own piece is a fine example of his creativity, with possibly a hint or two of Horace Silver.

This live set was well recorded and well appreciated by the audience. It's one for trio lovers interested in unusual repertoire.

European Standard Time

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Laura Nyro - Playlist: The Very Best Of Laura Nyro

Bitrate: MP3@320K/s
Time: 56:19
Size: 128.9 MB
Styles: Soft rock, AM Pop
Year: 2012
Art: Front

[2:38] 1. And When I Die
[2:43] 2. Stoney End
[2:26] 3. Flim Flam Man
[2:44] 4. Lu
[3:47] 5. Stoned Soul Picnic
[3:12] 6. Capt. St. Lucifer
[7:04] 7. Christmas In My Soul
[2:54] 8. Jimmy Mack
[3:49] 9. Coffee Morning
[4:11] 10. Child In A Universe
[3:31] 11. To A Child
[3:51] 12. Broken Rainbow
[5:02] 13. American Dove
[8:20] 14. Medley: Timer; O-O-Oh Child; Up On The Roof

Playlist: The Very Best of Laura Nyro gathers 14 tracks recorded during the singer/songwriter's tenure with Columbia. Included are the original versions of "And When I Die," "Stoney End," and "Flim Flam Man [aka Hands Off the Man]." While this budget-priced compilation should please most casual listeners, it does leave off "Eli's Coming," one of her essential songs. ~Al Campbell

Playlist: The Very Best Of Laura Nyro

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J.R. Monterose & Tommy Flanagan - A Little Pleasure

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 46:20
Size: 106,3 MB
Art: Front

(7:10)  1. Never Let Me Go
(5:43)  2. Pain and Suffering...and a Little Pleasure
(5:30)  3. Con Alma
(5:04)  4. Central Park West
(3:12)  5. Vinnie's Pad
(9:07)  6. Theme for Ernie
(7:30)  7. A Nightingale Sang in Berkeley Square
(2:58)  8. Twelve Tone Tune

A Little Pleasure is a reunion of sorts for pianist Tommy Flanagan and saxophonist J.R. Monterose, who first recorded together on a stellar 1959 quartet date titled The Message. Here, the pair tackles six fairly obscure repertoire pieces and two of the saxophonist’s originals. It's also Monterose’s first appearance on soprano sax; he’s mostly known as a formidable tenorman. It’s a tense recording in some ways Flanagan’s light touch and pastoral outlines, while loose, are somewhat about-faced from Monterose’s bullish, hard-edged approach, such as on their rendition of “Theme for Ernie.” Yet it’s a tension that creates great jazz; when the pair hits a unison volley, it’s thrilling. The most basic lyricism comes when Monterose switches to soprano, as he does on the title track and “A Nightingale Sang in Berkeley Square,” with the pianist’s lush chords outlining a reedy quaver. The pairing of these two often-unheralded masters is a fine one. With little of Monterose’s output in print, A Little Pleasure is certainly well worth investigating. https://itunes.apple.com/us/album/a-little-pleasure/id400721259

Personnel: J.R. Monterose (soprano saxophone, tenor saxophone); Tommy Flanagan (piano).

A Little Pleasure

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Simone Kopmajer - Romance

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 53:20
Size: 123,4 MB
Art: Front

(3:41)  1. How Do You Keep The Music Playing?
(4:02)  2. A Blossom Fell
(4:11)  3. We Kiss In A Shadow
(5:30)  4. Calling You
(5:47)  5. Whatever Happens
(5:48)  6. Exactly Like You
(5:28)  7. Someone To Light Up My Life
(5:40)  8. A Time For Love
(5:21)  9. Where Or When
(4:54) 10. Just Squeeze Me (But Don't Tease Me)
(2:57) 11. Whatever Happens (Reprise)

Romance is the debut CD by Austrian singing wunderkind and Mark Murphy protege Simone Kopmajer, who sings with a maturity that belies her age of 23. Two things that immediately struck this listener were Kopmajer's good taste and her acute ear. By acute ear, I mean her sensitivity to what is going on around her musically, for Simone Kopmajer is not just a singer, she is a musician who just happens to sing.  She starts off her album with "How Do You Keep the Music Playing?," a song that in most incarnations is presented as sheer schlock. But Kopmajer keeps things understated and never gets ahead of the rhythm section. This is a singer who understands that the best way to swing is to lay back of the beat a little. This rhythmic patience is seen in all of her performances on the album and is illustrative of a very gifted and mature musician. She has definitely taken to heart the lessons taught by her mentor, Mark Murphy. Pianist's John di Martino's arrangements are ideally suited to Kopmajer's vocal talents. I especially like his arrangement of "Exactly Like You," which features a bass line taken from Miles Davis' "All Blue." Of course, it only makes sense to feature the bass prominently when you have at hand the services of the incomparable George Mraz. Di Martino's scoring expertise is likewise featured in "The Way You Look Tonight," which gets a Latin makeover with an impressionistic chordal intro. Tenor saxophonist Eric Alexander was another ideal choice for this album. His musical sensibilities perfectly match Kopmajer's. His solos on "We Kiss in a Shadow" and "Where or When" are nothing short of magnificent. Kopmajer also knows her way very well around Brazilian music. She gives an excellent interpretation to Jobim's "Someone to Light Up My Life" ("Se Todos Fossem Iguais a Voce") and the bossa nova arrangement of "A Blossom Fell." And given her flawless and unaccented English, it wouldn't be too surprising if someday she does the same with the original Portuguese lyrics. Simone Kopmajer is a first-rate talent and a gifted musician, and her singing is a real joy to behold. Judging from this album, we're going to be hearing a lot from her in the future.~ William Grim https://www.allaboutjazz.com/romance-simone-kopmajer-zoho-music-review-by-william-grim.php

Personnel: Simone Kopmajer, vocals; John di Martino, piano and all arrangements; George Mraz, bass; Tim Horner, drums; Eric Alexander, tenor sax

Romance

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Dave Stryker Organ Trio - One For Reedus

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 59:25
Size: 136,3 MB
Art: Front

(6:33)  1. Pure Imagination
(7:44)  2. Burn For ERN
(7:11)  3. One For Reedus
(7:18)  4. Alone Again (Naturally)
(8:24)  5. For All We Know
(6:31)  6. Zoltan
(8:43)  7. Make Someone Happy
(6:58)  8. Nefertiti

Dave Stryker had a working group with drummer Tony Reedus, though he is not present as he died suddenly from a pulmonary embolism two weeks prior to the session. Steve Williams is an excellent replacement, while the third member of the trio is the in-demand young organist Jared Gold. Stryker chose a diverse playlist, including a breezy midtempo bop setting of "Pure Imagination" (penned for the soundtrack to the film Willie Wonka and the Chocolate Factory) and Gilbert O'Sullivan's seemingly unpromising "Alone Again (Naturally)," which the guitarist tackles very deliberately in an understated fashion, revealing the possibilities within its melody (though thankfully without having to hear its weak lyrics). Williams' brushwork introduces the perky arrangement of "Make Someone Happy" (a favorite of the late pianist Bill Evans), while Stryker's choosing to alternate between two time signatures adds a unique touch to his interpretation of "For All We Know." The guitarist appreciates modern jazz compositions as well, delivering an exotic treatment of Woody Shaw's "Zoltan" and Wayne Shorter's catchy "Nefertiti." Stryker salutes his late drummer with "One for Reedus," a soulful affair with a solid groove.~ Ken Dryden http://www.allmusic.com/album/one-for-reedus-mw0001961316

Personnel: Dave Stryker (guitar); Jared Gold (Hammond b-3 organ).

One For Reedus

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Bob Mintzer All L.A. Band - All L.A. Band

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 62:12
Size: 143,7 MB
Art: Front

(5:51)  1. El Caborojeno
(5:25)  2. Havin' Some Fun
(4:29)  3. Home Basie
(5:09)  4. Ellis Island (feat. Adam Schroeder & Michael Stever)
(6:08)  5. Original People
(7:15)  6. New Rochelle (feat. Russ Ferrante)
(4:44)  7. Runferyerlife (feat. Bob McChesney)
(8:36)  8. Latin Dance
(5:23)  9. Slo Funk (feat. Bob Sheppard)
(9:07) 10. Tribute (feat. Russ Ferrante & Michael Stever)

Even though saxophonist Bob Mintzer's name rests alone atop the marquee, the All L.A. Band is actually a mutual collaboration with acclaimed drummer Peter Erskine, one of Mintzer's colleagues in the Jazz Studies department at the University of Southern California. Besides occupying the drum chair, Erskine produced the album, while Mintzer composed and arranged its ten handsome themes. Among the musical styles closest to Mintzer's heart are Afro-Cuban and funk, and there is plenty of both on All L.A. Big Band (whose members all live and work in the L.A. area). Mintzer has chosen the cream of the crop for this enterprise with predictable results. A trumpet section can hardly go wrong with Wayne Bergeron calling the shots, nor can a trombone section supervised by Bob McChesney. Interestingly, Mintzer has chosen to use only three saxophones: alto Bob Sheppard, baritone Adam Schroeder and himself on tenor. As for the rhythm section, pianist Russell Ferrante, guitarist Larry Koonse, bassist Edwin Livingston and percussionist Aaron Serfaty are deftly navigated through every shoal by the ever-vigilant Erskine.

Mintzer's Afro-Cuban penchant is represented by the sunny opener, "El Caborojeno," as well as "Ellis Island" and "Latin Dance," funk by the aptly named "Slo Funk" (written some forty years ago for the Buddy Rich band), "Home Basie" and "New Rochelle" (composed for Mintzer's smaller group, the Yellowjackets). "Havin' Some Fun" is a laid-back riff in the Basie style, "Original People" a reggae / swing amalgam, "Runferyerlife" (previously heard on Mintzer's album Old School: New Lessons) an old-fashioned take-no-prisoners barn-burner (enfolding one of Mintzer's best solos and a rapid-fire outburst by McChesney). The album closes with the easy-moving "Tribute," an homage to trumpeter Thad Jones and the many other superb musicians who cut their jazz teeth the Basie band. Although soloists aren't named, that's beside the point, as no one can deny that's Mintzer on tenor, Sheppard on alto, Schroeder on baritone, McChesney on trombone or Ferrante on piano and together they account for every ad lib aside from a couple by the trumpets, and who is answerable for them is anyone's guess. What is paramount is that the All L.A. Band is splendid, and that Mintzer and Erskine have designed a consistently impressive album that should gladden the heart of anyone who is a champion of contemporary big bands. ~ Jack Bowers https://www.allaboutjazz.com/all-la-band-bob-mintzer-fuzzy-music-review-by-jack-bowers.php
 

Personnel: Bob Mintzer: leader, tenor saxophone; Wayne Bergeron: trumpet; James Blackwell: trumpet; John Thomas: trumpet; Chad Willis: trumpet; Michael Stever: trumpet; Bob Shepard, Adam Schroeder: saxophones; Bob McChesney: trombone; Erik Hughes: trombone; Julianne Gralle: trombone; Craig Gosnell: bass trombone; Russ Ferrante: piano; Larry Koonse: guitar; Edwin Livingston: bass; Peter Erskine: drums; Aaron Serfaty: percussion.

All L.A. Band

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Johnny Hartman - Today

Styles: Vocal
Year: 1973
File: MP3@320K/s
Time: 36:52
Size: 84,6 MB
Art: Front

(2:08)  1. 59th Street Bridge Song (Feelin' Groovy)
(4:49)  2. Raindrops Keep Falling On My Head
(3:34)  3. If
(3:56)  4. Rainy Days And Mondays
(3:38)  5. You Go To My Head
(4:16)  6. Meditation
(3:56)  7. The First Time Ever I Saw Your Face
(3:51)  8. Sunday Sun
(4:07)  9. For The Good Times
(2:32) 10. Easy Come, Easy Go

Today, Johnny Hartman's first record for Perception, was a new beginning of sorts. It just wasn't a very good beginning. Hartman decided to ease his way into the popular mainstream with Today, recording such recent pop hits "By the Time I Get to Phoenix," "Games People Play," "Betcha By Golly Wow," "Help Me Make It Through the Night" and "We've Only Just Begun." Each of these songs are terrific pop singles, but with the exceptions of "By the Time I Get to Phoenix" and "Help Me Make It Through the Night," they're identified by their performers as much as the songs themselves, and none of them lend themselves to the kind of hushed, sympathetic treatment Hartman has been known to give. Furthermore, the sound of the record is too slick for Hartman, which gives the record an uneasy easy listening sound. There are moments on Today that work, such as the lovely "Summer Wind," but by and large this is a missed opportunity. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/today-mw0000890183

Personnel:  Bass – Earl May;  Drums – Billy Higgens;  Guitar – Roland Prince;  Piano – Herman Foster;  Saxophone – George Coleman;  Vocals – Johnny Hartman

Today

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Art Taylor & Taylor's Wailers - Mr. A.T.

Bitrate: MP3@320K/s
Time: 55:12
Size: 126.4 MB
Styles: Bop
Year: 1992/2014
Art: Front

[11:56] 1. Mr. A.T
[ 6:59] 2. Hi-Fly
[14:15] 3. Soul Eyes
[ 5:54] 4. Bullet Train
[ 2:05] 5. It Doesn't Matter
[ 7:02] 6. Ahmad's Blues
[ 3:36] 7. Gingerbread Boy
[ 3:23] 8. Mr. A.T

Drummer Art Taylor, who spent many years in Europe, re-emerged as an important bandleader with this Enja CD. Taylor's group (called "Taylor's Wailers") features four Young Lions: the fine tenor Willie Williams, altoist Abraham Burton (most heavily influenced by his teacher Jackie McLean), pianist Marc Cary and bassist Tyler Mitchell, in addition to the drummer/leader. On a variety of tunes from the 1950s and '60s (highlighted by "Hi-Fly," "Soul Eyes" and "Gingerbread Boy") the musicians play some high-quality modern hard bop. Enjoyable music. ~Scott Yanow

Mr. A.T.

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David Clayton-Thomas - Canadiana

Bitrate: MP3@320K/s
Time: 54:01
Size: 123.7 MB
Styles: Roots, Jazz vocals
Year: 2016
Art: Front

[3:03] 1. Ophelia
[5:07] 2. Angel
[4:05] 3. Sonny's Dream
[4:39] 4. Early Mornin' Rain
[4:01] 5. Far Away Places
[6:05] 6. Both Sides Now
[4:06] 7. Heart Of Gold
[4:49] 8. Up Where We Belong
[4:02] 9. Suzanne
[3:38] 10. I'll Never Smile Again
[3:55] 11. Spinning Wheel
[2:48] 12. Closer To The Heart
[3:38] 13. Something To Talk About

In this fresh collection of interpretations, David’s grasp of pop, jazz, and blues is second to none, with sparkling interpretations of songs Rush, Gordon Lightfoot, Joni Mitchell, Neil Young, Leonard Cohen and more. Working again with producer George Koller, David sings some of Canada’s best-loved songs, carving out the melodies and the memories of the decades, with his soulful voice at the helm. “George’s musicality and his gentle leadership, his organizational skills and his incredible bass playing were essential to the success of this very complex project,” David says. “To pay tribute to the songs of Canada’s most well-loved songwriters was a task I did not take lightly. To give each song its own identity while honouring the intent of the writer would be challenging. The contributions of Canadian writers to popular music is enormous. We began with a list of over 100 songs. Our hardest job was determining which of the great songs on this long list NOT to record.”

The star-studded guests on ‘Canadiana’ include Grammy Award winning drummer Larnell Lewis of Snarky Puppy, and includes duets with Laila Biali and Genevieve Marentette, alongside the brilliant jazz playing by Guido Basso and Russ Little. One highlight of many are the cutting edge string arrangements by Aaron Davis framing Shauna Rolston’s moving cello obligato on Sarah McLachlan’s ‘Angel’ and Laila’s pure angelic voice on Joni Mitchell’s ‘Both Sides Now.’ David is perhaps one of the best-suited singers to record “Ophelia” by The Band as he considers the group one of his contemporaries. David states, “I’ve known The Band since we played the same bars when they were The Hawks. I consider them to be the greatest rock and roll band ever. I wanted to pay tribute to my old friend, Levon Helm. I knew him well and he was a helluva nice guy.” David didn’t want to simply cover these tunes. He took daring and satisfying liberties when it served the song, giving it a fresh new sound, and was thrilled with the in-the-moment contemporary takes in the studio. “Who knew how a Neil Young song would sound as a reggae? A Lightfoot song with a funky Memphis groove or a Rush anthem played Afro-Cuban? We had a ball recording this album and I hope that comes through in the music. I hope it brings a smile to the faces of all the songwriters represented here. It was a joy to pay homage to these gifted songwriters who have given so much to music lovers around the world.”

Canadiana

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George Cables - Person To Person

Bitrate: MP3@320K/s
Time: 61:42
Size: 141.2 MB
Styles: Bop, Piano jazz
Year: 1995
Art: Front

[6:12] 1. My Funny Valentine
[3:25] 2. I Told You So
[9:08] 3. Sweet Rita Suite
[5:33] 4. Blue Nights
[4:31] 5. A Foggy Day
[5:33] 6. I Remember Clifford
[3:22] 7. On Green Dolphin Street
[5:37] 8. Love Song
[3:52] 9. In A Sentimental Mood
[3:21] 10. In Walked Bud
[4:53] 11. Polka Dots And Moonbeams
[6:09] 12. Body And Soul

George Cables is widely recognized as a first call sideman, though the pianist has also recorded extensively as a leader. This 1995 session for Steeplechase is one of the rare times where he had a chance to record as a solo pianist. He avoids predictability in his interpretation of the oft-recorded "My Funny Valentine," beginning the piece in mid-song and offering a lush arrangement. Likewise, "On Green Dolphin Street" can sound hackneyed in the wrong hands, but his imaginative bassline makes the difference. Cables is equally impressive as an interpreter of well known jazz compositions. Benny Golson's "I Remember Clifford" incorporates double-time passages to keep the piece from becoming maudlin, while his playful take of Duke Ellington's "In a Sentimental Mood" is a virtuoso performance. Cables' originals include the driving, insistent "I Told You So" (which deserves amusing lyrics) and the powerful "Sweet Rita Suite," which has a tantalizing Latin undercurrent. ~Ken Dryden

Person To Person

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Claire Daly - Movin' On

Bitrate: MP3@320K/s
Time: 67:07
Size: 153.6 MB
Styles: Saxophone jazz
Year: 2001
Art: Front

[4:20] 1. Softly As I Leave You
[4:35] 2. You Said It
[4:33] 3. Every Time We Say Goodbye
[7:03] 4. Goodbye
[4:59] 5. Smile
[5:40] 6. After You've Gone
[6:28] 7. If Ever I Would Leave You
[5:31] 8. Goodbye Porkpie Hat
[5:13] 9. Birdie Bye
[5:47] 10. A Bientot
[4:11] 11. Bye-Ya
[5:55] 12. Love Me Or Leave Me
[2:45] 13. Some Other Time

Since leaving the big band Diva and striking out on her own, baritone saxophonist Claire Daly has proved to be a terrific leader in her own right. Her ability to coax a consistently lyrical sound out of her somewhat ungainly instrument combined with her ability to put together a tight small group and a wide-ranging program are all factors that make this a very enjoyable session. The songs all center around the end of relationships, whether due to death, departure, or encouraging someone to leave. Although "After You're Gone" eventually picks up to the brisk tempo at which its normally played, Daly has fun playing around with the theme at a more relaxed pace, as if celebrating a pending breakup with some glee before calling it quits. "If Ever I Would Leave You" is so often played at maudlin tempos that Daly's brisk arrangement is a welcome departure, beautifully seasoned by the soft muted trumpet of guest James Zollar. In addition to the many other fine standards heard here, her emotional treatment of "Goodbye Porkpie Hat," a foot-patting interpretation of Billy Taylor's "A Bientot," and a playful run through Joel Forrestor's "Birdie Bye" add to the luster of this gem of a CD. Daly makes her recorded debut as a singer with very effective vocals on Charlie Chaplin's bittersweet "Smile" and a heartfelt take of Leonard Bernstein's "Some Other Time." The outstanding rhythm section of pianist Eli Yamin, bassist Dave Hofstra, and drummer Peter Grant provides the perfect chemistry for this very talented baritone saxophonist's well-crafted studio date. ~Ken Dryden

Movin' On

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Gerald Albright - Kickin' It Up

Bitrate: MP3@320K/s
Time: 46:06
Size: 105.6 MB
Styles: Smooth jazz
Year: 2004
Art: Front

[4:24] 1. 4 On The Floor
[4:22] 2. To The Max
[4:31] 3. Why Georgia
[3:58] 4. Walker's Theme
[4:50] 5. Condition Of My Heart
[4:55] 6. Throw Yo' Hands (In The Air)
[4:54] 7. Father's Lullaby
[4:55] 8. On The One
[4:34] 9. Kickin' It Up
[4:38] 10. If You Don't Know Me By Now

It's hard to deny that saxophonist Gerald Albright often gave up playing "jazz" -- at least the snob definition -- in favor of urban radio and smooth jazz radio acceptance. During his years on the Atlantic label (1987-1997), his full-lengths contained big hits surrounded by lackluster songs. The exception was the "real jazz" album (snob definition again) Live at Birdland West, which kicked up the excitement a notch. After leaving Atlantic his first record for GRP, Groovology, was freer and more fun. Maybe it wasn't "real jazz," but it was really good. Nothing was so sweet and staid that it made you wince and the excitement was certainly back. Kickin' It Up continues along these lines, and if it isn't as well constructed as Groovology, it will at least keep the Albright faithful coming back. Albright still plays the jazz-pop that's kept him in the money, but once again he adds little flourishes and playful embellishments that are the textbook definition of jazz. A rotating group of musicians keeps the album from having any honest live feeling (no one ever "responds" to any of the other musicians), and there's almost as much drum programming as there is real drumming. The various groupings at least sound tight, and whenever Albright is coupled with Jeff Lorber he's extra effervescent. Former Boyz II Men vocalist Shawn Stockman pillow talks his way through the Brian McKnight-penned "Condition of My Heart" better than Justin Guarini did, and Albright's inspired arrangement and performance of John Mayer's "Why Georgia" captures the wistful, wandering spirit of the original. A couple formulaic numbers keep the record from being a total success, but there's less of it than during his worst Atlantic days and every song has at least one eyebrow-raising passage. The jazz elite will refuse to recognize him until he delivers another Birdland West, but they're missing his new voice, and judging by how comfy he sounds here, he probably shouldn't go back. Since going with GRP Albright finally added comfortable and freewheeling to amiable, smooth, and relaxed. A fair album -- like this one -- from the new Albright beats a very good one from the old, controlled Albright. ~David Jeffries

Kickin' It Up

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Curtis Fuller - Curtis Fuller Meets Roma Jazz Trio

Styles: Trombone Jazz

Year: 1982

File: MP3@320K/s

Time: 39:46

Size: 93,2 MB

Art: Front

(6:46)  1. Impressions

(6:53)  2. R.E.D.'s Delights

(5:45)  3. Jazz Island

(8:22)  4. Naima

(6:43)  5. Afternoon In Paris

(5:16)  6. Blue Bossa

An overlooked 80s session from trombonist Curtis Fuller and a great one too  a record that really returns the player to the powerful presence we first loved in his albums of the late 50s and early 60s! Fuller's the leadoff solo instrument throughout working here with backing from the Roma Trio of Danilo Rea on piano, Enzo Pietropaoli on bass, and Roberto Gatto on drums all playing with that careful, classic vibe that maybe made the Italian scene in the 80s one of the richest on the continent. Curtis blows boldly, even at mellower moments often phrasing more like a trumpet than a typical trombonist and serving up lots of soulful sounds in the process. The set features a sublime reading of "Naima", plus "Blue Bossa", "Afternoon In Paris", "Red's Delights", and "Impressions". © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/764034

Personnel:  Bass – Enzo Pietropaoli;  Drums – Roberto Gatto;  Piano – Danilo Rea;  Trombone – Curtis Fuller

Curtis Fuller Meets Roma Jazz Trio

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Megan Hilty - It Happens All The Time

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 38:08
Size: 87,7 MB
Art: Front

(4:09)  1. It Happens All The Time
(3:34)  2. Be A Man
(3:38)  3. No Cure
(3:27)  4. Walk Away
(3:41)  5. Safe And Sound
(4:34)  6. The Blower's Daughter
(3:20)  7. Hopin'
(3:23)  8. Wise Up
(4:26)  9. The Heart Of The Matter
(3:51) 10. Dare You To Move

When It Happens All the Time was released, Megan Hilty was best known for her show-stopping turns in Broadway productions including Wicked and 9 to 5: The Musical, as well as her role as Ivy Lynn on NBC's musical-within-a-musical TV series Smash. However, the songs she chose for her debut album weren't show tunes or standards; they were contemporary pop with a capital P: a glance at the liner notes reveals songwriting credits for Ne-Yo, Carrie Underwood, and Glen Ballard. Her desire to bring something unexpected and perhaps more personal to It Happens All the Time is admirable, but Hilty's approach to these songs is too reverent and stripped of her best work's vibrancy and nuance. It doesn't help that the production and arrangements tend toward pop's milder side, draining more daring choices like Damien Rice's "The Blower's Daughter" and Taylor Swift's "Safe and Sound" of much of their rawness. It Happens All the Time succeeds with lighter fare such as the airy "Hopin'," the Ne-Yo and Underwood-penned "Walk Away," and the single "No Cure," which is one of the best examples of when this album gets the balance of intimacy and polish right. "Wise Up" is another highlight, with Aimee Mann's subtle songwriting allowing Hilty to deliver one of the album's most sophisticated vocal performances. Of course, she never sounds outright bad "Dare You to Move" and "Be a Man" showcase her powerhouse vocals particularly well but a lot of the album ends up underscoring that conveying the sentiments of a pop song isn't the same thing as portraying a character in a show tune (even if it's a particularly heartfelt one). As always, Hilty is a dynamic performer with a beautiful voice, but It Happens All the Time is often so sanitized that a livelier set of more traditional songs might have made for a better debut. ~ Heather Phares http://www.allmusic.com/album/it-happens-all-the-time-mw0002477577

It Happens All The Time

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Junior Cook Quartet & George Coleman Octet - Stablemates

Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 79:58
Size: 183,5 MB
Art: Front

( 5:28)  1. Sweet lotus lips
( 4:44)  2. The crucifier
( 4:46)  3. Not quite that
( 8:51)  4. Yardbird suite
(11:00)  5. Moment to moment
(11:00)  6. Green dolphin street
( 7:59)  7. Frank's tune
( 4:55)  8. Big George
( 5:05)  9. Joggin'
(10:31) 10. Body and soul
( 5:35) 11. Revival

Known as two of the pre-eminent modern mainstream tenor saxophonists of the '60s with Horace Silver or Miles Davis respectively, Junior Cook and George Coleman each blazed their own trails in post-bop jazz with styles and techniques that influenced their much more renowned peer, John Coltrane. These sessions from 1977 showcase the horn players in their prime of life, invigorated to play their own music, and surrounded with like-minded experts of contemporary expressionism that lifts this music to the rafters. Legitimate stablemates in the eight-piece group, Cook's quartet with the reliable pianist Mickey Tucker, and the mighty octet of Coleman featuring Cook split the program, and both consistently prove their distinctive mettle throughout. Cook's small ensemble offers the flowing modal waltz "Sweet Lotus Lips" with an outstanding solo from bassist Cecil McBee, the light shuffle "Not Quite That" similar to Duke Pearson's "Jeanine" with Cook in a restrained Coltrane-ish mode, while the outstanding modal version of Henry Mancini's "Moment to Moment" has a bossa nova feel and palpable Joe Henderson inferences. The band does "Yardbird Suite" with Cook's tenor, not alto as Charlie Parker played on his original, sporting fluid dynamics, executed in a loose fashion, and with a delightfully playful facade. Coleman's exceptional octet, with fellow Memphis musicians, alto saxophonist Frank Strozier and pianist Harold Mabern, baritone saxophonist Mario Rivera, and trumpeter Danny Moore form one of the great front lines of all time. 

But sheer talent is not so much the key as is their teamwork and innate ability to play these tough, intriguing, and uplifting charts. A crazy fast unison approach contrasting mad changes by Coleman and Cook hardly suggests the melody of "Green Dolphin Street," a unique touch that sets the tone for the octet. Drummer Idris Muhammad fires up "Big George" with a hard bop fervor rivaled only by Elvin Jones not surprising considering this track sounds like it is based on a merge of John Coltrane's "Giant Steps" and the Miles Davis classic "Tune Up." Rivera naturally underpins the Latin feel of a starkly dramatic "Joggin'," while the bright big-band feel of "Frank's Tune" suggests the progressive bent of the Thad Jones-Mel Lewis Orchestra. Coleman's octet saves the best for last, as "Revival" is an epic modal anthem, with Moore's burnished trumpet up front working in counterpoint with the other horns over a dense, delicious, and dramatic baseline reverting to a tuneful repeat phrase over constantly changing dynamics and shifting rhythms. It's one for the ages. Special kudos goes to Mabern, the glue of the band from a supportive rhythmic and melodic standpoint, and again to Muhammad for his intelligent design in navigating rhythm in a manner far from stock, standard timekeeping. 

This is an important album in many ways, not only for the status of Cook and Coleman, but for the highly original classic music that clearly is identified with the '50s, brought into contemporary times, and everlasting. ~ Michael G.Nastos http://www.allmusic.com/album/stablemates-mw0000311269

Personnel:  Lisle Atkinson – Bass;  George Coleman Octet - Primary Artist;  Junior Cook - Primary Artist, Sax (Tenor);  Frank Eyton – Composer;  Johnny Green – Composer;  Edward Heyman – Composer;  Harold Mabern – Piano;  Henry Mancini – Composer;  Cecil McBee – Bass;  Johnny Mercer – Composer;  Idris Muhammad – Drums;  Mario Mártires Rivera - Sax (Baritone);  Robert Sour – Composer;  Frank Strozier - Sax (Alto);  Mickey Tucker - Composer, Piano;  Azzedin Weston – Percussion;  Leroy Williams - Drums

Stablemates

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Bob Rockwell Trio - Born To Be Blue

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 64:34
Size: 148,2 MB
Art: Front

(6:55)  1. Bye-Ya
(9:26)  2. Born To Be Blue
(6:13)  3. Gaslight
(6:02)  4. A Nightingale Sang In Berkeley Square
(6:18)  5. Bye Bye Baby
(8:09)  6. Jitterbug Waltz
(7:04)  7. The First Song
(8:02)  8. While We're Young
(6:22)  9. Dizzy's Business

Bob Rockwell (born May 1945, Miami, Oklahoma) is a jazz saxophonist. He was born in the United States but emigrated to Denmark in 1983, where he has lived since. Rockwell was raised in Minneapolis, and in his early career he toured the U.S. in various rock and rhythm and blues bands. He worked in Las Vegas in the late 1960s and early 1970s, then moved to New York City, where he played with Thad Jones and Mel Lewis, Tito Puente, Ben Sidran, Freddie Hubbard, Ray Drummond, Billy Hart, Rufus Reid, Victor Lewis, Ron McClure, Tom Harrell, Chuck Israels, John Hicks, Al Foster, Anthony Cox, Bill Dobbins, Keith Copeland, Clint Houston, and Richie Beirach. After settling in Copenhagen, Rockwell released a large number of albums on jazz label SteepleChase Records. He has also worked in Europe with Ernie Wilkins, Kenny Drew, Alex Riel, Marilyn Mazur, Kenny Wheeler, Jan Kasperson, and Jesper Lungaard. https://en.wikipedia.org/wiki/Bob_Rockwell

Personnel:  Andy LaVerne (piano), Jesper Lundgaard (bass), Bob Rockwell (tenor sax, soprano sax)

Born To Be Blue

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Doug Webb - Bright Side

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 62:44
Size: 145,1 MB
Art: Front

(6:01)  1. Society Al
(5:49)  2. Silver Lining
(3:26)  3. The Drive
(5:14)  4. Bahia
(5:20)  5. Doctor Miles
(5:26)  6. Steak Sauce
(4:40)  7. Melody For Margie
(5:51)  8. Slo Mo
(4:45)  9. One For Hank
(4:18) 10. Lunar
(5:58) 11. Guess I'll Hang My Tears Out To Dry
(5:49) 12. Funky Medina

From one perspective, Doug Webb's Bright Side is basically twelve tracks clothed in very recognizable forms a few varieties of soul-jazz, a couple of heartfelt ballads, a taut bossa nova, and an array of middling and up tempo straight- ahead swingers. Although the material is thoroughly enjoyable, it's tempting to succumb to a nagging notion that its all been done countless times before, and then simply move on to a record by yet another brave soul planting his/her flag in the jazz tradition. Fortunately, what enables Bright Side to add up to something more than a competent, professionally executed jazz record, is a slew of highlights, bright moments, and outright cool stuff that populates every track. A quintet consisting of Webb's tenor sax, trumpeter Joe Magnarelli, guitarist Ed Cherry, organist Brian Charette, and drummer Steve Fidyk (all of whom have led dates for the Posi-Tone Records label) operates like a well-oiled machine. Listening to how nicely all of the parts fit together, and the fact that you can easily discern each player's contribution, are important facets of the disc's appeal. For instance, Cherry's work on the heads and his comping behind individual soloists are delivered in subtle yet decisive ways that add rich, distinctive flavors while taking up a minimum amount of space. The same can be said about Charette, whose primary concern is holding down the band's bottom, but, with due cause, asserts himself by means of vivid chords. Fully capable of inhabiting any role the music requires, Fidyk often jolts the band with thickset snare accents, frequently plays fluid, inconspicuous jazz time, and always executes smart, stimulating fills regardless of the type of groove.

Webb's voice as an improviser possesses real character regardless of the kind of song he's playing. Check out the R & B influenced "Society Al" for the way in which he gets down by himself at the onset of the track, pausing and briefly falling silent amidst a fair amount honking and shouting. Later on during his solo over the band's uncluttered funk, Webb executes notey runs, brief, tantalizing hesitations, quick, meaningful digressions, as well as broad, weighty tones and makes all of them sound like they belong in close proximity to one another. Magnarelli's solos particularly on "Steak Sauce," "Slo Mo," and "Lunar"  contain a fair measure of brassy power mixed with a kind of subdued, floating quality that feels emotionally vulnerable. Cherry possesses a unique, understated style, doling out notes with a soulful circumspection. His all-too-brief intro to "One For Hank" is the epitome of sparse perfection, so simple that it's easy to take it for granted. The guitarist's gift for making improvised lines sound both ephemeral and sturdy is also apparent throughout the gentle "Bahia," where every single note and chord breathes easy and carries an almost imperceptible weight. In the end, Webb and company make it simple to enjoy the music instead of indulging in critical hair splitting or fretting about stylistic proclivities and influences. ~ David A.Orthmann https://www.allaboutjazz.com/bright-side-doug-webb-posi-tone-records-review-by-david-a-orthmann.php

Personnel: Doug Webb: tenor saxophone; Joe Magnarelli: trumpet; Brian Charette: organ; Ed Cherry: guitar; Steve Fidyk: drums.

Bright Side

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