Steve Nelson - Communications

Bitrate: MP3@320K/s

Time: 68:24

Size: 156.6 MB

Styles: Bop, Vibraphone jazz

Year: 1990

Art: Front

[ 7:21] 1. Blues All The Time

[ 7:33] 2. I Didn't Know What Time It Was

[ 4:06] 3. The Song Is You

[ 6:38] 4. Aten Hymn

[10:17] 5. What's New

[ 7:23] 6. Blues For Bob

[ 6:23] 7. Festival

[10:01] 8. Dignity

[ 8:39] 9. I Hear A Rhapsody

Steve Nelson (Vib); Mulgrew Miller (P); Ray Drummond (B); Tony Reedus (D). Recorded December 30, 1987 & October 11, 1989 in Englewood Cliffs, NJ, USA by Rudy Van Gelder

This outstanding vibraphonist and composer was born in Pittsburgh, Pennsylvania. He graduated from Rutgers University with both Masters and Bachelors degrees in music and his teaching activities have included a position at Princeton University. As a resident of the New York area he has performed and recorded with many great musicians including Kenny Barron, Bobby Watson, Mulgrew Miller, David Fathead Newman, Johnny Griffin and Jackie McLean.

He has appeared at concerts and festivals worldwide and has made three recordings as the leader of his own group. His recordings as a leader include Live At Acireale (Red Records), Full Nelson (Sunnyside) and Communications (Criss Cross). Recordings with others include Mulgrew Miller, David “Fathead” Newman, Kenny Barron, Jackie McLean and Johnny Griffin.

Communications

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Phil Woods, Pepper Adams - Together For The First Time

Bitrate: MP3@320K/s
Time: 50:42
Size: 116.1 MB
Styles: Saxophone jazz
Year: 2015
Art: Front

[ 7:04] 1. Pent Up House
[11:04] 2. Prelude To A Kiss
[ 7:18] 3. Three Little Words
[ 9:08] 4. Webb City
[ 6:55] 5. Time On My Hands
[ 9:09] 6. Long Ago And Far Away

This album brings together two of the finest musicians that have stepped onto a band stand. In their time, each has traveled the world, worked with the best sidemen and been awarded top honors by their peers. The Phil Woods tracks are from the last session done with his renowned0 quartet. The Pepper Adams tracks are said to be the very best that he had ever recorded.

Together For The First Time 

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The Jane Jarvis L.A. Quartet - S/T

Bitrate: MP3@320K/s
Time: 44:01
Size: 100.8 MB
Styles: Piano jazz
Year: 1989
Art: Front

[4:48] 1. Love For Sale
[4:17] 2. So Beats My Heart For You
[5:47] 3. Clark's Bars
[6:52] 4. I'll Never Be The Same
[6:02] 5. Close Your Eyes
[4:53] 6. In Love In Vain
[6:31] 7. I Hear A Rhapsody
[4:48] 8. Alabaster

Recognition of pianist Jane Jarvis' talents has certainly come late in life; she did not record her debut as a leader until she was 70 and did not become more widely known until a decade later! Ironically she had been a bit of a child prodigy and she worked on a local radio station in Gary, Indiana as an accompanist during a children's program at age 12. When she was 13 her parents died in a train crash. That same year Jarvis became a staff pianist at WJKS-WIND Chicago where she had opportunities to accompany (among others) Ethel Waters, Sophie Tucker and Paul Whiteman's band. Always hard-working, Jarvis eventually gained a B.S. from Pace University (she attended five different conservatories along the way) and she was quite active in music (while rearing two children) throughout the Midwest. In addition to working on radio station WTMJ, Jarvis had opportunities to play with such visiting jazz stars as Eddie South, Billy Butterfield and Maxine Sullivan. She worked for 18 years at the Muzak corporation, eventually becoming Vice President. She also played organ regularly in the 1950's for the Milwaukee Braves home games, following it up with a longtime association (1964-79) as the New York Mets' organist. During the same period that she worked with the Metz and for Muzak, Jarvis played occasionally in New York clubs with such players as Roy Eldridge, Helen Humes, Richie Kamuca and Ruby Braff. After retiring as a baseball organist, Jarvis finally became a fulltime jazz pianist, playing for a long time at Zinno's (a Greenwich Village restaurant) with Milt Hinton. Jane Jarvis recorded two albums for Audiophile (1985 and 1988) and one for Arbors (1995), gaining some recognition for her work with the Statesmen of Jazz (starting in 1984) with whom she also recorded. She has also started an annual jazz party/festival called the Jane Jarvis Jazz Invitational held each November in Florida. A solid mainstream pianist, Jarvis had managed to retain both her enthusiasm and sense of swing into her 80's. ~bio by Scott Yanow

The Jane Jarvis L.A. Quartet

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Ben Webster - Jazz 'Round Midnight

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 64:58
Size: 152,9 MB
Art: Front

(3:10)  1. In The Wee Small Hours Of The Morning
(4:15)  2. Time On My Hands
(4:48)  3. Early Autumn
(4:12)  4. Prisoner Of Love
(4:56)  5. When I Fall In Love
(4:37)  6. Willow Weep For Me
(4:44)  7. Prelude To A Kiss
(3:37)  8. Chelsea Bridge
(3:22)  9. My Funny Valentine
(6:50) 10. You're Getting To Be A Habit With Me
(4:40) 11. Where Are You
(3:29) 12. Ill Wind
(4:42) 13. All Too Soon
(3:00) 14. Tenderly
(4:30) 15. We'll Be Together Again

Ben Webster is probably best known for his eloquent ballad playing. On Jazz 'Round Midnight, we are treated to no less than 15 ballads, all of which are performed superbly. Webster is one of the great jazz romantics, and his sultry ballad style stirs the heart and soul with every phrase. It's not just the way he caresses each note, or the thick airy sound he gets on his tenor sax; it's the lyrical, almost voice-like character of his playing that makes all of these songs so memorable. Backed by such notables as Oscar Peterson and Ray Brown, Webster's renditions of "You're Getting To Be a Habit With Me," "In the Wee Small Hours of the Morning," "We'll Be Together Again," and others, sparkle with vitality, romance, and warmth. Finally, Webster's idol, Coleman Hawkins, sits in on "Prisoner of Love" making this CD sparkle even that much more. One of the great jazz ballad albums, Jazz 'Round Midnight is a must for any candlelight dinner. http://www.allmusic.com/album/jazz-round-midnight-ben-webster-mw0000093614

Personnel: Ben Webster (tenor saxophone); Herb Ellis, Barney Kessel, Mundell Lowe (guitar); Al Young (flute, alto saxophone); Jimmy Hamilton, Tony Scott (clarinet); Coleman Hawkins (tenor saxophone); Danny Bank (baritone saxophone); Harry "Sweets" Edison (trumpet); Hank Jones , Jimmy Jones , Oscar Peterson, Teddy Wilson, Billy Strayhorn (piano); Dave Bailey , Ed Thigpen, Jo Jones , Louie Bellson, Alvin Stoller, Osie Johnson, Stan Levey (drums).

Jazz 'Round Midnight

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Tarbaby - Ballad of Sam Langford

Styles: Jazz, Post-Bop
Year: 2013
File: MP3@320K/s
Time: 57:36
Size: 133,9 MB
Art: Front

(2:12)  1. Title Bout (Opening Round)
(4:53)  2. Aztec
(4:12)  3. When
(5:13)  4. MBBS
(7:23)  5. Rolling Vamp
(3:20)  6. Kush
(6:13)  7. Korean Bounce
(3:43)  8. Asiam
(3:04)  9. Hat Trick
(6:48) 10. August
(3:21) 11. Nobody Knows
(2:19) 12. Come
(4:47) 13. Title Bout

The Ballad of Sam Langford represents an auspicious third chapter in the recorded history of this adventurous cooperative trio, with guests. So their collective name is Tarbaby; exactly where did that provocative moniker originate, what inspired pianist Orrin Evans, bassist Eric Revis, and drummer Nasheet Waits to come up with that one? Was it the literary mind of Evans, son of a prominent playwright and by dint of his previous recordings, a man certainly not bereft of either humor or imagination? Or was it the adventurous likes of Revis, known also as the bassist of the Branford Marsalis Quartet, or perhaps Waits, the crafty drummer in another bristling trio, Jason Moran’s Bandwagon? The answer stems from boxing annals, and the title of this recording is homage to the source. Turn of the 20th century Canadian boxer Sam Langford, hailed by ESPN as the “Greatest fighter nobody knows,” was known as a fearsome puncher (Ring magazine rated him in its “100 greatest punchers of all time” list). No less than the great Jack Johnson is reputed to have ducked the compact (5’6 ½” 185 lbs.) pugilist, so prodigious were his skills. Langford was known by several sobriquets, the most impertinent being “The Boston Tar Baby”, thus the name of this exceptional trio. His story certainly sounds like one Orrin Evans’ late father, the playwright Don Evans might have championed theatrically.

Tarbaby’s first complete album The End of Fear, released in 2010 (their debut was a self-titled 2009 EP), invited three guests into their inventive lair, saxophonists JD Allen and Oliver Lake, and trumpeter Nicholas Payton. This time out they’ve invited Lake back for a second go on six tracks, as well as trumpeter Ambrose Akinmusire for an equal number. The rather inside/out perspectives of Lake and Akinmusire are a good match for Tarbaby’s ambitious tableaux. “Mr. Lake has lived this aesthetic for quite some time,” remarks Revis. “His contributions on and off the bandstand are immeasurable. To witness his artistic vitality in music, art and life is a tremendous source of inspiration to us all,” he continues on Lake, a man whose robust career has ranged from neo reggae to the World Saxophone Quartet to jump blues to new sonic textures. “Oliver recorded with my father, [drummer] Freddie Waits over 25 years ago. His sound is incredible!!! He’s a story teller of the highest order,” enthuses Waits. Akinmusire, the noted trumpet ace who records for Blue Note, is from the generation that arrived just after Evans, Revis and Waits. But he fits the Tarbaby approach quite comfortably and contributes quite essentially to this disc. “I’ve had the pleasure of working with Ambrose in some other situations, so I know he shares the same artistic integrity as we do,” says Waits. “Our goal in this music is to adhere to the concept of the continuum,” continues Revis. “Acknowledging and having a deep reference for tradition, while being very much committed to an artistic trajectory that is forward in nature. Ambrose embodies this aesthetic, so it was very natural for us to choose him as someone we wanted to collaborate with,” the bassist says of his fellow Californian.

Throughout this disc there is a keen sense of drama, in the way themes are stated and improvisations embellish those themes, as well as in the vigorous nature of playing these five musicians consistently display. Befitting the core trio’s co-led nature, no one figure ever predominates, not merely in the case of the whole program, but also within the 13 episodes that comprise this disc; and these are most assuredly episodes, or movements if you prefer, more than mere tunes. Tarbaby lays down a fine sense of true programming with this release; and believe me, there’s a fine line between programming and just playing tunes. “Title Bout” is a sonic prelude to the delicacies that follow, with Lake’s slightly acidic alto neatly balancing Ambrose’s subtle clarion. Lake’s “Aztec” bears the hang/fly quality of his inside/out perspectives. “When” is a pastoral Evans’ arrangement that bears a certain foreboding quality while seemingly asking musical questions. The pianist’s “MBBS is a line reminiscent of Jackie McLean. After Lake and Akinmusire state its pithy theme, and following a compact discourse from the trumpeter, the trail opens for Evans’ assertive swing with Revis and Waits; Ambrose and Revis dialogue on the dissolve.“Rolling Vamp” is Lake’s second contribution to this date, finding Ambrose riding the waves of Waits. “Kush” is a lovely dark chocolate ballad from Waits; listen to the way the trio breathes as one here. On Waits’ “Korean Bounce” dig how the composer’s crafty drum work elicits some overblowing and puckish mouthpiece manipulation from the trumpeter, prior to a free arco interlude from Revis; seems this Korean journey may have been a bit fraught with intrigue. Akinmusire’s contribution “Asiam” is a lovely trumpet/piano duet.

These 13 original compositions include four pieces collectively contributed by Tarbaby: the opening and closing episodes of “Title Bout”, “Nobody Knows,” and “Hat Trick.” Asked how the band goes about the task of collective composition, Revis says “The three of us have worked as a unit for over 10 years and we have known each other and worked in a variety of configurations even longer. One of the reasons we formed the group was our almost preternatural rapport. We think very much alike as to how we interpret music.” And with respect to their collective composition represented on this disc, “We decided to go in with either no preconceived ideas or very skeletal sketches,” says the bassist. “The tunes took on their shapes and personalities almost instantly.” Adds Waits, “We are like-minded in myriad ways. When there are discussions of the path (melody, rhythm, harmony… decisions were made expeditiously.” 

This chapter of Tarbaby is released on the independent Hipnotic Records label, the catalogue of the ambitious DC-based Tony Haywood, whose recordings reflect a keen eye for creativity. “I look for artists who have a strong reverence for jazz tradition and who also bring an original approach to the music through their playing, composing and arranging. Tarbaby obviously fits the bill with the dynamism and creative intensity they bring, individually and collectively. Oliver and Ambrose clearly are important and like-minded voices on their instruments,” agrees Haywood. Here’s a record that should rank high in year-end assessments because it has all the earmarks even before you give it a spin: a first class core and rhythm section, two distinctive guest instrumental voices – one somewhat younger, the other someone the core trio came up listening to and appreciating for his range of experiences and compositions which continually reveal their gifts with repeated spins. Willard Jenkins is a journalist-concerts & festivals presenter-consultant, broadcaster at WPFW in Washington, DC and author of African Rhythms, the autobiography of Randy Weston (Duke University Press). http://www.cdbaby.com/cd/tarbaby3

Personnel:  Orrin Evans-piano, Eric Revis-bass, Nasheet Waits-drums, Oliver Lake-alto saxophone, Ambrose Akinmusire-trumpet.

Ballad of Sam Langford

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Ari Ambrose - Introducing Ari Ambrose

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 63:31
Size: 145,7 MB
Art: Front

( 5:54)  1. Just for the love
( 6:53)  2. Ugly beauty
( 5:15)  3. Far away blues
( 8:51)  4. I wish i knew
( 4:59)  5. Esorbma
( 8:29)  6. Love letters
( 6:01)  7. Something to live for
(10:33)  8. Olvidandos
( 6:32)  9. West

It takes guts to devote your life to playing jazz, not to mention the tenacity to make a living of it in the hustle and bustle of New York City. Obviously 26-year- old tenor saxophonist Ari Ambrose has more than enough gumption to give it a try, while also making his debut disc anything but the expected and ordinary. For starters, Ambrose, who has recently been seen gigging with Ryan Kisor, George Colligan, and the Vanguard Jazz Orchestra, keeps fast company in the likes of bassist Dennis Irwin and drummer Billy Hart and then he opts for a piano-less trio date that leaves him out in the open as the main voice and soloist. Ambrose is largely successful with his maiden voyage, choosing wisely from some standards and throwing in four of his own tunes to boot. 

Since his style is still in the evolution stage, some of his influences can be detected, such as the breathy Ben Webster voice he brings to "Something to Live For," the cascading arpeggios a la Rollins from "Just For the Love," and the guttural squawks and moans on "Olvidandos" that suggest both Archie Shepp and Joe Henderson. In fact, it would come as no surprise to hear that Ambrose has a fondness for the live trio sides cut at the Vanguard by both Henderson and Rollins. Of course, this is not to propose that Ambrose merely runs down old solos by rote; his command of the instrument and advanced improvisational skills make for an engaging listen. Since recording this set in April of 1998, Ambrose has made a few more SteepleChase sides that have yet to make it to the States. As a way to trace his development, they are sure to be rewarding because this introductory piece suggests that Ambrose is a star on the rise. ~ C.Andrew Hovan https://www.allaboutjazz.com/introducing-ari-ambrose-ari-ambrose-steeplechase-records-review-by-c-andrew-hovan.php
 

Personnel: Ari Ambrose- tenor saxophone, Dennis Irwin- bass, Billy Hart- drums

Introducing Ari Ambrose

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Archie Shepp - The Magic Of Ju-Ju

Styles: Saxophone Jazz, Avant-Garde Jazz
Year: 1967
File: MP3@224K/s
Time: 35:20
Size: 56,7 MB
Art: Front

(18:38)  1. The Magic Of Ju-Ju
( 1:50)  2. You're What This Day Is All About
( 4:43)  3. Shazam
(10:07)  4. Sorry 'bout That

On this 1967 Impulse release, tenor saxophonist Archie Shepp unleashed his 18-minute tour de force "The Magic of Ju-Ju," combining free jazz tenor with steady frenetic African drumming. Shepp's emotional and fiery tenor takes off immediately, gradually morphing with the five percussionists Beaver Harris, Norman Connor, Ed Blackwell, Frank Charles, and Dennis Charles who perform on instruments including rhythm logs and talking drums. Shepp never loses the initial energy, moving forward like a man possessed as the drumming simultaneously builds into a fury. Upon the final three minutes, the trumpets of Martin Banks and Michael Zwerin make an abrupt brief appearance, apparently to ground the piece to a halt. This is one of Shepp's most chaotic yet rhythmically hypnotic pieces. The three remaining tracks, somewhat overshadowed by the title piece, are quick flourishes of free bop on "Shazam," "Sorry Bout That," and the slower, waltz-paced "You're What This Day Is All About."~Al Campbell http://www.allmusic.com/album/the-magic-of-ju-ju-mw0000744563

Personnel:  Archie Shepp: tenor saxophone;  Martin Banks: trumpet, flugelhorn;  Mike Zwerin: bass trombone, trombone;  Reggie Workman: bass;  Norman Connors: drums;  Beaver Harris: drums;  Frank Charles: talking drum;  Dennis Charles: percussion;  Ed Blackwell: rhythm logs

The Magic Of Ju-Ju

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Greg Gisbert - The Court Jester

Bitrate: MP3@320K/s
Time: 56:46
Size: 129.9 MB
Styles: Trumpet jazz
Year: 1997
Art: Front

[8:15] 1. Robyn Song
[8:21] 2. The Love Dirge
[6:15] 3. The Court Jester
[6:06] 4. Soft Snow
[6:47] 5. Smile
[6:47] 6. My Ideal
[7:42] 7. Waltz For Toots
[6:29] 8. Dizzy Atmosphere

Greg Gisbert - trumpet & fluegelhorn, Conrad Herwig - trombone, Tim Ries - tenor sax, soprano sax & flute, Jon Gordon - alto and soprano sax, Janice Friedman - piano, Jay Anderson - bass, Gregory Hutchinson - drums. Recorded December 27, 1996 in New York City, NY, USA by Max Bolleman

Trumpeter Greg Gisbert is a modern-day equivalent of such predecessors as Conte Condoli, Marvin Stamm, Richard Williams, and Clark Terry. That is to say he has spent much of his young musical career in the big bands (Buddy Rich and Maria Schneider) and doing studio work that while providing a living doesn't necessarily make for high visibility among the record-buying public. A graduate of the Berklee College of Music in Boston, Gisbert has never lacked for work over the years and has been lucky enough to appear on a number of fine releases as of late (Mickey Tucker's Hang in There, on SteepleChase, comes to mind) in addition to cutting two previous discs for Criss Cross Jazz.

The album at hand, The Court Jester, is Gisbert's most impressive outing to date and the maturity shown in his writing is most apparent. For proof of that, one needs look no further than the album's two highlights. "The Love Dirge" starts with a military snare drum opening that leads to a swaggering line that Gisbert's muted horn makes the most of (shades of Ellington and Strayhorn to be sure!) The title track then goes for broke, with a dense scoring that develops a momentum all of its own. Gisbert's incendiary trumpet shouts towards the conclusion are certainly some of his finest recorded moments to date.

Elsewhere one gets the sense that Gisbert was trying to present a taste of all the recent writing tricks he has added to his arranger's bag. The tunes are unusual and the voicings for this large ensemble (that includes trombone, saxophones, and flutes) are sonorous and delightful. It should also be mentioned that the crack rhythm team of pianist Janice Friedman, bassist Jay Anderson and drummer Gregory Hutchinson adds support that can only be described as perfect. And while Gisbert's comments in the liner notes tend to suggest that he's a bit hard on himself in terms of his own playing, the fact remains that there's nothing here that seems at all superfluous or mundane. The Court Jester is a memorable disc that will stand up over repeated listening and what more could you want then that? ~C. Andrew Hovan

The Court Jester

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Helen Merrill - The Nearness Of You/You've Got A Date With The Blues

Bitrate: MP3@320K/s

Time: 73:54

Size: 169.2 MB

Styles: Jazz vocals

Year: 2009

Art: Front

[2:54] 1. Bye Bye Blackbird

[4:45] 2. When The Sun Comes Out

[2:07] 3. I Remember You

[3:17] 4. Softly, As In A Morning Sunrise

[2:04] 5. Dearly Beloved

[3:25] 6. Summertime

[3:30] 7. All Of You

[2:37] 8. I See Your Face Before Me

[2:46] 9. Let Me Love You

[4:01] 10. The Nearness Of You

[2:18] 11. This Time The Dream's On Me

[3:20] 12. Just Imagine

[5:21] 13. The Blues (From Black, Brown & Beige)

[3:31] 14. Am I Blue

[3:17] 15. Blue Gardenia

[3:28] 16. You've Got A Date With The Blues

[3:34] 17. The Thrill Is Gone

[3:08] 18. When The World Was Young

[3:36] 19. Blues In My Heart

[3:22] 20. Vous M'eblouissez [you Got To My Head]

[2:45] 21. Lorsque Tu M'embrasses

[3:05] 22. The Meaning Of The Blues

[1:32] 23. Signing Off

Helen Merrill (vcl), Kenny Dorham (tp), Bobby Jaspar (fl), Jerome Richardson or Frank Wess (fl, ts), Bill Evans, Jimmy Jones (p), George Russell, Barry Galbraith (g), Milt Hinton, Oscar Pettiford, Johnny Frigo (b), Jo Jones (d).

This release contains the complete original albums "The Nearness of You" (Emarcy) and "Youve Got a Date with the Blues" (Metro Jazz). These two LPs present Merrill in splendid form backed by swinging combos featuring stars like Bill Evans, Kenny Dorham, Bobby Jaspar, Oscar Pettiford, Milt Hinton and Jo Jones.

Although she was well-known among fellow musicians, Helen Merrill was not a star like Sarah Vaughan, Ella Fitzgerald or even Dinah Washington at the time these two albums were made. She only gained greater fame after she started touring Europe shortly after the two albums compiled here were made.

The Nearness Of You/You've Got A Date With The Blues 

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Marvin Gaye - Unreleased 1965

Bitrate: MP3@320K/s
Time: 70:30
Size: 161.4 MB
Styles: R&B
Year: 2016
Art: Front

[2:29] 1. As Long As She Needs Me
[2:24] 2. I've Got It Bad (And That Ain't Good)
[2:41] 3. Baby Baby Come Home
[2:52] 4. All My Life
[2:29] 5. The More I See You
[3:37] 6. I Wish You Love
[2:37] 7. Say When
[3:21] 8. The End Of A Love Affair
[4:11] 9. Violets For Your Furs
[2:35] 10. So In Love
[3:08] 11. If I Had To Go
[2:32] 12. You're All That Matter To Me
[2:46] 13. Goodbye
[2:22] 14. Fanny
[2:31] 15. Dear Heart
[3:21] 16. Fly Me To The Moon
[2:03] 17. What's New
[3:51] 18. All The Way
[2:39] 19. More
[3:04] 20. Maria
[2:00] 21. Where Are You
[2:22] 22. Quiet Nights Of Quiet Stars
[3:15] 23. Emily
[3:06] 24. I've Got Your Number
[2:03] 25. On A Wonderful Day Like Today

Gaye’s career began slowly with Motown, working as a session drummer while trying to build a solo career. He played drums with such artists as The Miracles, The Contours, and Martha and the Vandellas. In 1961, Gaye released his first single, “Let Your Conscience Be Your Guide” followed by the album The Soulful Moods of Marvin Gaye. Both found no success on the national level, although they maintained moderate acclaim regionally. Even though Marvin Gaye struggled with creative differences with Motown Records, he steadily churned out chart topping hits. In 1962, he released “Stubborn Kind of Fellow”, which reached the top 50 of the Billboard charts. The following year, “Hitch Hike” and “Can I Get a Witness” both reached the top 30. “Pride and Joy” became his first top 10 hit.

The magnitude of Marvin Gaye’s influence on R&B and soul music was recognized when he was inducted into the Rock and Roll Hall of Fame in 1987. His music continues to influence and inspire singers and songwriters today.

Unreleased 1965

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Karen Francis - Where Is Love ?

Styles: Vocal
Year: 1996
File: MP3@320K/s
Time: 62:40
Size: 143,9 MB
Art: Front

(7:23)  1. I Guess I'll Hang My Tears Out To Dry
(6:03)  2. The End Of A Love Affair
(5:33)  3. Sweet Pumpkin
(5:52)  4. Willow Weep For Me
(5:23)  5. Let's Go Where The Grass Is Greener
(5:01)  6. Where Is Love ?
(5:13)  7. He Never Mentioned Love
(3:43)  8. Triste
(7:09)  9. Polkadots And Moonbeams
(5:09) 10. May I Come In?
(6:04) 11. On A Clear Day

A promising young singer, Karen Francis made her recording debut on this set in 1996. She is particularly rewarding on ballads such as the opening two numbers ("I Guess I'll Hang My Tears Out To Dry" and "The End Of A Love Affair") and "May I Come In" where her voice is quite expressive and she does justice to the lyrics. Francis is not as strong on the more medium-tempo material (her voice is sometimes a little erratic) although she does a fine job on the closing "On A Clear Day" and contributed the haunting "He Never Mentioned Love." This set is worth checking out; one hopes that there will be much more from Karen Francis. ~ Scott Yanow http://www.allmusic.com/album/where-is-love-mw0000084593

Personnel: Karen Francis (vocals); George Colligan (piano); James King (bass); Aaron Walker (drums).

Where Is Love ?

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Orrin Evans - Faith In Action

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 55:38
Size: 128,2 MB
Art: Front

(2:58)  1. Don't Call Me Wally
(5:03)  2. Faith In Action
(5:50)  3. Wheel Within A Wheel
(4:44)  4. Appointment In Milano
(5:05)  5. Matthews Song
(5:56)  6. Beattitudes
(4:54)  7. MAT Matt
(7:04)  8. Love Remains
(8:11)  9. Two Steppin With Dawn
(5:49) 10. Why Not

Orrin Evans, a Philadelphia jazz pianist with superior blues/bebop prowess, displays his strengths on Faith In Action, a tribute record to saxophonist Bobby Watson. Back in the 1980s, fueled by the corporate marketing machines, there was a resurgence of classic, mainstream jazz. As the Marsalis family benefitted from this traditionalist resurgence, other players forged their own paths. Such was the story of Watson who, like trumpeter Wynton Marsalis, was an Art Blakey alum, but who eschewed conservatism for a funky, edgier, blues sound. Watson recorded the stellar Italian sessions Appointment In Milano (Red, 1985) and Love Remains (Red, 1986) before forming possibly the best hard bop band of the late-1980s/early-1990s, Horizon. Watson's work this century included Orrin Evans as pianist. In Evans, Watson has found a kindred spirit who has seemingly been more appreciated in Europe than the US. His 12 discs for the Dutch Criss Cross label (half as leader) are well worth seeking out.

Evans, in this trio format, finds partners Luques Curtis (bass) and Nasheet Waits (drums) operating on his same groove-bop wavelength. Their combined motion brings to life the Watson compositions that make up half of this session. The players balance the integrity of Watson's compositions against their desire to play off each other. "Wheel Within A Wheel" calls for a dose of melodic swing that can either be dispensed with lightness or a thumping weight. Between Evans and Waits, the pulse can either drive down or rise into feathery flight. Similarly, "Appointment In Milano" finds Evans hammering notes not with sloppiness, but with a funky, knowing swing, simultaneously reminiscent of McCoy Tyner and Bud Powell. 

Even when the trio switches gears, as on the balladic "Matthew's Song" with drummer Gene Jackson sitting in that hint of sly funk persists. Evans creates a playful groove that is steeped in the blues, but without the clichéd blue licks. His original, "MAT-Mat," fights against standard time signatures, grabbing odd angles with its stop/start logic and skewed beauty. When the trio goes for the heart strings on Watson's "Love Remains," the bittersweet is served with sincerity and just enough tasty groove to summon the jazz soul. ~ Mark Corroto https://www.allaboutjazz.com/faith-in-action-orrin-evans-posi-tone-records-review-by-mark-corroto.php

Personnel: Orrin Evans: piano; Luques Curtis: bass; Nasheet Waits: drums (1, 2, 4, 6-8, 10); Rocky Bryant: drums (3); Gene Jackson: drums (5, 9).

Faith In Action

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Thomas Marriott - Urban Folklore

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 43:07
Size: 99,5 MB
Art: Front

(4:15)  1. Apophis
(4:03)  2. The Tale of Debauchery
(5:27)  3. Room 547
(3:32)  4. Mo-Joe
(6:23)  5. What Emptiness Can Do
(3:23)  6. Locked Up (Theme From "The Shot Caller")
(6:01)  7. Living on the Minimum
(3:44)  8. I'm Vibing You
(6:14)  9. Washington Generals

Nothing has hit quite as hard as recent music from the trio of pianist Orrin Evans, bassist Eric Revis and Drummer Donald Edwards. The three musicians seek out (or probably are sought by) collaborators of equal weight and energy. It is not surprising that this recording of nine compositions, led by trumpeter and Seattle native Thomas Marriott, is a knockout from the opening number. Urban Folklore is Marriott's ninth as leader, and follows Dialogue (Origin Records, 2012) a live date in which Evans was a guest artist. "Apophis" whirls with the trumpeter's gentle yet passionate tone, drawing the trio into the mix, only to open into a blistering post-bop run. Marriott draws upon the shared language the three exhibited on Evans' trio disc ..."It was beauty" (Criss Cross, 2013) and also Edwards Evolution Of An Influenced Mind (Criss Cross, 2014), which included saxophonist Walter Smith III and guitarist David Gilmore.  Fans of Evans' Captain Black and Tarbaby bands will have much to celebrate here. Marriott stands toe-to-toe on the burners, including the funk-laid foundation of "The Tale Of Debauchery," a Freddie Hubbard mid-sixties inspired "Mo-Joe," and the ever-so-hip bouncing of "Living On The Minimum." He also delivers on the tender ballad "What Emptiness Can Do," with a benevolent trumpet sound that could easily be mistaken for a flugelhorn. Marriott's trumpet pulls from both the classic Blue Note hard bop sound and the modern textures heard from Dave Douglas and Ron Miles. With Urban Folklore the West Coast-meets-East Coast sound is the new cool. ~ Mark Corroto https://www.allaboutjazz.com/urban-folklore-thomas-marriott-origin-records-review-by-mark-corroto.php
 

Personnel: Thomas Marriott: trumpet; Orrin Evans: piano; Eric Revis: bass; Donald Edwards: drums.

Urban Folklore

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Andrew Rathbun - Shadow Forms

Styles: Saxophone Jazz
Year: 2006
File: MP3@256K/s
Time: 65:02
Size: 119,2 MB
Art: Front

(5:18)  1. Street Talk
(3:54)  2. To The Matt
(6:14)  3. Scatter Scott
(5:12)  4. Drewsie
(6:10)  5. Pass It In
(4:55)  6. Herbie At Sixty
(6:18)  7. Ripple
(4:09)  8. This Fall 9/11
(4:12)  9. Elmo
(8:08) 10. Look Again
(6:34) 11. Fifteen Minute Drill
(3:52) 12. Onmo

Canadian jazz musicians are frequently overlooked by American jazz fans unless they record for a US-based label, but ignore Andrew Rathbun at your own risk. There is a lot to like about Shadow Forms, as there are plenty of surprising twists within these intimate performances. This talented multi-instrumentalist, primarily heard on tenor sax, also doubles on soprano sax, clarinet and keyboards during this studio session, where he is joined by bassist Scott Lee and drummer Jeff Hirshfield, with veteran George Garzone adding a second tenor on several tracks. Rathbun and Lee contribute five originals each, in addition to interpretations of works by two contemporaries. The full quartet is heard on a brisker than usual setting of Joe Lovano's "Street Talk that features both tenor players delivering turbocharged solos. Their light-hearted run through Kenny Wheeler's "Onmo is something that Rathbun played with its composer on an earlier CD, so he thought it was worth revisiting.  Among the trio numbers, Lee's "Drewsie (a fine tribute to reed player Billy Drewes) showcases Rathbun's whimsical clarinet and the composer's humorous arco bass line, while Rathbun switches to soprano for the subdued ballad "Herbie at Sixty. Rathbun overdubs a soft keyboard line behind his robust tenor in his tense "Elmo, which is actually named for the famous puppet on Sesame Street. This outstanding release remains fresh with each hearing, as new facets of these performances become apparent to the listener. ~ Ken Dryden https://www.allaboutjazz.com/shadow-forms-andrew-rathbun-steeplechase-records-review-by-ken-dryden.php
 

Personnel: Andrew Rathbun: tenor and soprano saxophone, clarinet, keyboards; George Garzone: tenor saxophone; Scott Lee: bass; Jeff Hirshfield: drums.

Shadow Forms

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Van Morrison - Into The Music

Bitrate: MP3@320K/s
Time: 62:26
Size: 142.9 MB
Styles: Soft rock, Album rock
Year: 1979/2008
Art: Front

[ 3:46] 1. Bright Side Of The Road
[ 3:14] 2. Full Force Gale
[ 5:27] 3. Stepping Out Queen
[ 4:41] 4. Troubadours
[ 2:53] 5. Rolling Hills
[ 4:09] 6. You Make Me Feel So Free
[ 6:51] 7. Angeliou
[ 8:02] 8. And The Healing Has Begun
[ 5:09] 9. It's All In The Game
[ 5:39] 10. You Know What They're Writing About
[ 7:00] 11. Stepping Out Queen
[ 5:30] 12. Troubadours

Into the Music may not seem like a great Van Morrison record, one of his very best, upon first listen, especially if you're trying to compare it to such masterpieces as Astral Weeks and Moondance, or even Tupelo Honey. Yet this is certainly one of his best records, one that is quietly winning and thoroughly ingratiating, sounding stronger, even irresistible, with each new spin. In a sense, this is the definitive post-classic-era Morrison, since it summarizes all of his attributes while showcasing each at a peak. Musically, this is a little harder and rootsier than its two predecessors, but only a little; this is still remarkably relaxed music, where the charm is in its ease of delivery and compositions. The difference, there's more grit in the performances, more substance in the songs, letting Van the craftsman shine through along with his spirituality and grace. There may be no masterworks on the level of his early-'70s records, but these are deft, subtle songs that are full-bodied songs, unlike their counterparts on this album's immediate predecessors or successors. There's little question that this is not a knockout record, and some could even be excused if they find its charms elusive -- but once you've entered Van's sizable cult, few records sound as much like Morrison as this, a record that served as culmination of where he was coming from and served as blueprint for where he was going. ~Stephen Thomas Erlewine

new link: Into The Music

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Various - Bebop

Bitrate: MP3@320K/s
Time: 43:29
Size: 99.5 MB
Styles: Bop
Year: 2005
Art: Front

[2:44] 1. Dizzy Gillespie - Love Is Here To Stay
[8:22] 2. Giants Of Jazz - Allen's Alley
[7:57] 3. John Coltrane - Three Little Words
[6:38] 4. Max Roach - Almost Like Me
[6:13] 5. Philly Joe Jones - Salt Peanuts
[4:51] 6. Sonny Stitt - Koko
[6:41] 7. Thelonious Monk - Evidence

Part of Atlantic's extensive jazz series, Atlantic Jazz: Bebop takes in some of the innovators of 52nd Street over the course of seven nicely selected cuts. And while more astute listeners will want to check out something like Proper's multi-disc Bebop Spoken Here collection, this set still delivers a respectable mix of bop performances. This is no jazz history lesson, what with the glaring absence of Parker, Navarro, Dameron, Bud Powell, et al., not to mention the lack of original '40s performances. But what listeners do have is a stellar trio rendition of Monk's "Evidence" with Art Blakey, Coltrane, Sonny Stitt's whirlwind go at Bird's "Ko-Ko," and a few other gems. Best seen as a general jazz mix and not as any kind of definitive chronicle of the music. ~Stephen Jones

Bebop

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Ella Fitzgerald - Things Ain't What They Used To Be

Bitrate: MP3@320K/s
Time: 42:45
Size: 97.9 MB
Styles: Vocal jazz
Year: 1970/2013
Art: Front

[5:15] 1. Sunny
[3:47] 2. Mas Que Nada
[3:14] 3. A Man And A Woman
[2:19] 4. Days Of Wine And Roses
[4:25] 5. Black Coffee
[3:13] 6. Tuxedo Junction
[3:42] 7. I Heard It Through The Grapevine
[4:04] 8. Don't Dream Of Anybody But Me
[3:08] 9. Things Ain't What They Used To Be
[4:36] 10. Willow Weep For Me
[2:27] 11. Manteca
[2:30] 12. Just When We're Falling In Love

Ella Fitzgerald's most eclectic and stylish LP, Things Ain't What They Used to Be is a delightful mosaic of contemporary soul hits, perennial standards, and bossa nova numbers that capture the full breadth of the singer's genius. Produced by Norman Granz and arranged by Gerald Wilson, the album follows on the heels of the full-blown pop session Ella, adopting a similarly groove-oriented contextual approach but drawing on a more diverse pool of material -- evergreens like "Black Coffee," "Tuxedo Junction," and the sublime "Don't Dream of Anyone but Me" are made fresh and new, revitalized by Wilson's deeply soulful arrangements and Fitzgerald's breathtaking vocal acrobatics. Hits including "Sunny" and "I Heard It Through the Grapevine" are no less rewarding -- Fitzgerald's command of the songs is absolute, adding wrinkles and nuances the hit versions never imagined. ~Jason Ankeny

Things Ain't What They Used To Be

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Donald Byrd - Off To The Races

Bitrate: MP3@320K/s
Time: 37:38
Size: 86.2 MB
Styles: Bop, Trumpet jazz
Year: 1959/2006
Art: Front

[6:49] 1. Lover Come Back To Me
[5:01] 2. When Your Love Has Gone
[6:51] 3. Sudwest Funk
[7:06] 4. Paul's Pal
[6:34] 5. Off To The Races
[5:16] 6. Down Tempo

Alto Saxophone – Jackie McLean; Baritone Saxophone – Pepper Adams; Bass – Sam Jones; Drums – Art Taylor; Piano – Wynton Kelly; Trumpet – Donald Byrd. Recorded December 21, 1958.

From the crackling opening notes of "Lover Come Back to Me," it's clear that Off to the Races is one of Donald Byrd's most invigorating sessions of the late '50s. Working with a stellar supporting band -- Jackie McLean (alto sax), Wynton Kelly (piano), Pepper Adams (bari sax), Sam Jones (bass), Art Taylor (drums) -- Byrd turns in one of his strongest recordings of the era. Throughout the album, Byrd switches between hard bop, ballads, laid-back blues, and soul-jazz. Two of the numbers are standards, one is a cover, and three are Byrd originals, but what matters is the playing. Over the course of the album, Byrd proves he has matured greatly as a soloist, capable of sweet, melodic solos on the slower numbers and blistering runs of notes on the faster songs. McLean is just as vigorous and lyrical, contributing some fine moments to the record, as do Adams and Kelly. There's nothing surprising about Off to the Races; it's simply a set of well-performed, enjoyable hard bop, but sometimes that's enough. ~Stephen Thomas Erelewine

Off To The Races

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Cris Delanno - Grandes Cancoes: Classicos De Tom Jobim

Bitrate: MP3@320K/s
Time: 46:54
Size: 107.4 MB
Styles: Bossa Nova, Brazilian jazz
Year: 2013
Art: Front

[3:40] 1. Chega De Saudade
[3:38] 2. Corcovado
[4:00] 3. A Felicidade
[3:16] 4. Ela É Carioca
[2:59] 5. Garota De Ipanema
[2:52] 6. Só Danço Samba
[4:19] 7. Desafinado
[2:19] 8. Samba De Uma Nota Só
[3:05] 9. Samba Do Aviao
[3:51] 10. Eu Sei Que Vou Te Amar
[3:20] 11. Meditação
[3:49] 12. Este Seu Olthar
[4:00] 13. Wave (Vou Te Contar)
[1:40] 14. Se Todos Fossem Iguais A Você

Born in the U.S. but raised in Brazil, Cris Delano began singing in a children's chorus before becoming a backup vocalist for local numbers. In 1999, she published a book called Mais Nunca E Preciso Cantar (More Than Ever Is Necessary to Sing). Delano made her debut with Em Tom Maior, a tribute to local star Tom Jobim. The album was produced in 2000 by composer/arranger Roberto Menescal, founder of Brazilian label Albatroz. The independent Filha Da Pátria followed in 2001. ~ Drago Bonacich

Grandes Cancoes: Classicos De Tom Jobim

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Pee Wee Ellis - What You Like

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 57:29
Size: 134,0 MB
Art: Front

(4:57)  1. The Prophet
(5:21)  2. Take Me To The River
(4:53)  3. Soul Pride
(2:42)  4. I Will Be There [feat. Van Morrison]
(5:09)  5. I Get Along Without You Very Well
(6:02)  6. 2 Dock C
(5:31)  7. (Your Love Is) So Doggone Good
(6:49)  8. Far From Home
(6:12)  9. Tune With A View [feat. Fred Wesley]
(3:46) 10. Step
(6:02) 11. What You Like

Leading the German NDR Big Band, saxophonist Pee Wee Ellis turns in a competent, occasionally stilted collection of soul-jazz and classic funk. The production and the playing is a bit too mannered for the music to actually catch fire, but there are moments  such as Fred Wesley's cameo on "Tune with a View" or Van Morrison's vocal spotlight on "I Will Be There" that make the disc a worthwhile listen. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/what-you-like-mw0000693549

Personnel: Pee Wee Ellis (tenor saxophone, baritone saxophone);  Jenni Evans, Van Morrison (vocals);  Tony Remy (guitar); Peter Bolte (reeds, alto saxophone);  Lutz Büchner (reeds, tenor saxophone);  Edgar Herzog, Fiete Felsch, Steffen Schorn (reeds); Ingolf Burkhardt, Claus Stötter, Lennart Axelsson, Reiner Winterschladen (trumpet); Lucas Schmid, Fred Wesley, Wolfgang Ahlers, Jon Welch, Egon Christmann, Joe Gallardo (trombone); Detlev Beier (acoustic bass); Mike Mondesir (drums).

What You Like

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