Kenny Burrell - Tender Gender

Styles: Guitar Jazz
Year: 1966
File: MP3@320K/s
Time: 40:59
Size: 166,7 MB
Art: Front

(4:42)  1. Mother-In-Law
(4:40)  2. Hot Bossa
(2:44)  3. People
(5:00)  4. Isabella
(3:13)  5. Girl Talk
(4:45)  6. Suzy
(4:58)  7. The Tender Gender
(3:42)  8. La Petite Mambo
(3:20)  9. If Someone Had Told Me
(3:55) 10. I'm Confessin' (That I Love You)

Digitally remastered edition of this 1966 album from the Jazz legend. On this album, Kenny's guitar is embellished beautifully by Richard Wyands, piano; Martin Rivera, bass; and Oliver Jackson, drums. It is an album that is indicative of all that is good about Mr. Burrell. The word 'versatile' is over-used in describing musicians and entertainers but Kenny's playing is both distinctive and varied. He has a beautiful lyrics sense-dig the unaccompanied "People", but he also has an aggressive style of playing that makes his sound easily recognizable. The outstanding characteristics of his playing-his best-known trait-is an honest and soulful blues feeling…a feeling so fresh and distinctive that the Kenny Burrell sound could almost be patented. ~ Editorial Reviews https://www.amazon.com/Tender-Gender-Kenny-Quartet-Burrell/dp/B008VTXTGE

Personnel:  Bass – Martin Rivera;  Drums – Oliver Jackson;  Guitar – Kenny Burrell;  Piano – Richard Wyands

Tender Gender

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Monty Alexander - Sunday Night

Styles: Piano Jazz
Year: 1985
File: MP3@320K/s
Time: 62:33
Size: 145,3 MB
Art: Front

( 9:54)  1. Old Devil Moon
( 6:57)  2. You'd Be So Nice To Come Home To
( 5:07)  3. More Or Wes
( 9:17)  4. Who Cares
(14:50)  5. Renewal
(10:31)  6. Joyspring
( 5:57)  7. African Bee

A nice little set from Monty Alexander – a Sunday Night session recorded with the same group, on the same weekend as his Saturday Night album! Monty Alexander's always great in a trio, but we really love the pianist when he's trying to add a little something extra to the mix as he does here in a quartet performance that features some nice added percussion from Robert Thomas! The tracks have that warm glow and open flow that Alexander first started bringing to his music in the 70s with sensitive rhythm work here from Reggie Johnson on bass and Ed Thigpen on drums – but the added percussion really helps things swing at a slightly higher level, giving a gentle kick to some cuts, while Monty's still able to open up with some warmly lyrical lines over the top. Titles include "Old Devil Moon", "Who Cares", "Renewal", "African Bee", "Joyspring", and "More Or Wes". © 1996-2017, Dusty Groove, Inc.https://www.dustygroove.com/item/793603?s=Monty+Alexander&incl_oos=1&incl_cs=1&kwfilter=Monty+Alexander&sort_order=artist

Personnel: Monty Alexander – piano;  Reggie Johnson – bass;  Ed Thigpen – drums;  Robert Thomas Jr. – hand drums

Sunday Night

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Harold Danko - Next Age

Styles: Piano Jazz
Year: 1993
File: MP3@224K/s
Time: 69:09
Size: 110,9 MB
Art: Front

(13:43)  1. Waiting Time
( 7:31)  2. For Bud
( 8:35)  3. Ice Mirror
( 8:26)  4. Gregarious Solitude
( 9:46)  5. Silk Lady
( 4:00)  6. Next Age
( 5:06)  7. Rhythm's Child
( 2:55)  8. Luz Caverna
( 9:03)  9. Subindo

The Harold Danko Quartet of 1993 (which features tenor saxophonist Rich Perry, bassist Scott Colley, drummer Jeff Hirshfield, and the pianist/leader) performs nine of Danko's originals on this stimulating set. Some of the tunes are based (although sometimes in an abstract fashion) on standards, while others are more original. The music swings most of the time, Perry's dry tone works well with Danko's modern mainstream piano, and the group is tight yet sounds quite spontaneous. This CD is worth several listens. ~ Scott Yanow http://www.allmusic.com/album/next-age-mw0000436009

Personnel:  Harold Danko (piano); Scott Colley (bass);  Jeff Hirshfield (drums);  Rich Perry (tenor sax)

Next Age

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Charlie Christian - The Wholly Cats

Styles:  Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 50:09
Size: 115,6 MB
Art: Front

(2:44)  1. Seven Come Eleven
(2:28)  2. Soft Winds
(2:45)  3. AC-DC Current
(3:00)  4. Till Tom Special
(3:22)  5. Gone with 'What' Wind
(3:17)  6. Six Appeal
(2:34)  7. Gilly
(5:03)  8. Waiting for Benny
(1:42)  9. Blues in B
(3:03) 10. Wholly Cats
(3:16) 11. A Smo-o-o-oth One
(2:47) 12. Poor Butterfly
(2:39) 13. Gone with What Draft
(4:30) 14. Air Mail Special
(4:04) 15. Breakfast Feud
(2:46) 16. Solo Flight

It can be said without exaggeration that virtually every jazz guitarist that emerged during 1940-65 sounded like a relative of Charlie Christian. The first important electric guitarist, Christian played his instrument with the fluidity, confidence, and swing of a saxophonist. Although technically a swing stylist, his musical vocabulary was studied and emulated by the bop players, and when one listens to players ranging from Tiny Grimes, Barney Kessel, and Herb Ellis, to Wes Montgomery and George Benson, the dominant influence of Christian is obvious. Charlie Christian's time in the spotlight was terribly brief. He played piano locally in Oklahoma, and began to utilize an amplified guitar in 1937, after becoming a student of Eddie Durham, a jazz guitarist who invented the amplified guitar. John Hammond, the masterful talent scout and producer, heard about Christian (possibly from Mary Lou Williams), was impressed by what he saw, and arranged for the guitarist to travel to Los Angeles in August 1939 and try out with Benny Goodman. Although the clarinetist was initially put off by Christian's primitive wardrobe, as soon as they started jamming on "Rose Room," Christian's talents were obvious. For the next two years, he would be well-featured with Benny Goodman's Sextet; there were two solos (including the showcase "Solo Flight") with the full orchestra; and the guitarist had the opportunity to jam at Minton's Playhouse with such up-and-coming players as Thelonious Monk, Kenny Clarke, and Dizzy Gillespie. All of the guitarist's recordings (including guest spots and radio broadcasts) are currently available on CD. Tragically, he contracted tuberculosis in 1941, and died at the age of 25 on March 2, 1942. It would be 25 years before jazz guitarists finally moved beyond Charlie Christian. ~ Scott Yanow https://itunes.apple.com/us/artist/charlie-christian/id520915#fullText

The Wholly Cats

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Sarah McKenzie - Paris In The Rain

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 52:35
Size: 121,2 MB
Art: Front

(4:06)  1. Tea For Two
(3:47)  2. Paris In The Rain
(4:15)  3. One Jealous Moon
(3:51)  4. Little Girl Blue
(4:44)  5. I'm Old Fashioned
(3:15)  6. When In Rome
(3:55)  7. Triste
(4:35)  8. Embraceable You
(4:17)  9. In The Name Of Love
(3:59) 10. Don't Be A Fool
(3:27) 11. Onwards And Upwards
(4:21) 12. Day In Day Out
(3:56) 13. Road Chops

After enchanting jazz fans with her 2015 Impulse! Records debut, We Could Be Lovers, Sarah McKenzie returns with the sensational follow-up, Paris in the Rain. Like before, the 28-year-old, Melbourne, Australia-born singer, pianist, composer and arranger teams with the acclaimed Brian Bacchus who has produced classics for such stars as Norah Jones, Lizz Wright, and Gregory Porter to deliver a gripping program of jazz classics and originals all of which present McKenzie’s incredible musicality in glamorous glory. McKenzie moved to Paris last year after graduating from Boston’s Berklee College of Music. The album’s snazzy title track is her love letter to the City of Light. The fanciful lyrics find her alternating effortlessly between French and English as she rejoices in the city’s opulent offerings. “I’m really in love with Paris. It’s a really amazing city. It’s so beautiful with so much to offer in terms of culture, food and style. I wanted to write a song that captures all of Paris’ beauty, magic and spirit.” Overall, the album’s theme centers on McKenzie’s journey from Australia to America and her trips throughout Europe as a performing artist. She exemplifies the loose theme with the telling choices of songs such as Cy Coleman and Carolyn Leigh’s “When in Rome,” (her visit to Italy) Antonio Carlos Jobim’s “Triste” (for her time in Portugal),” Vincent Youmans and Irving Caesar’s “Tea for Two” (for London).” The travelogue theme rings the loudest on album’s closer, “Road Chops,” an ebullient original that evokes the brisling giddiness of exploring the globe; the instrumental also showcases McKenzie command at the piano.

McKenzie praises Paris in the Rain as a more “stylish” album. “It shows greater depth of my arrangements,” she says before explaining that she’s fashioning her own vision within the jazz tradition. For this album, that meant exploring more textures with which she does gorgeously by expanding the sonic palette. The album boasts a superlative lineup that includes vibraphonist Warren Wolf (who played on We Could Be Lovers), guitarist Mark Whitfield, bassist Reuben Rogers, drummer Gregory Hutchinson, trumpeter Dominick Farinacci, flutist Jamie Baum, alto saxophonist Scott Robinson, tenor saxophonist Ralph Moore, and guitarist Romero Lubambo. Sophisticated originals steeped in the Great American Songbook tradition energize much of Paris in the Rain. In addition to the title track and “Road Chops,” she penned three other superb originals. The bluesy “One Jealous Moon” demonstrates her meticulous word play as she sublimely uses the numbers: 1,2,3,4 throughout in the song’s poetic lyrics; the song also features a stellar tenor saxophone solo from Moore. McKenzie’s haunting ballad “Don’t Be a Fool” conveys a melancholic allure as she slowly sings of treacherous romance and seduction; Warren Wolf’s striking vibraphone chords in unison with the piano accentuate the composition’s suspense. Later in the song, he delivers a rueful solo.

With “Onward and Upward,” McKenzie pays tribute to Nat King Cole with a spry original teeming with optimistic lyrics about embarking on new adventures; she also tickles a spiffy blues-laden piano solo while Baum and Farinacci too yield effervescent asides. As an arranger, McKenzie cites George Shearing as one her most significant lodestars. She’s particularly fond of his usage of piano block chords against guitars. “I want things to sound quirky and a little rough but still very charming and elegant,” she says. McKenzie employs the same ambitions of being a distinguishable stylist in her piano playing too. “Being an incredibly virtuosic pianist is cool if that that’s what you do. But I really identify with coming up with a style and really trying the make the songs speak with my own unique sound.” Sarah McKenzie hails from Melbourne, Australia; she earned a bachelor’s degree in jazz at Perth’s West Australian Academy of Performing Arts. With two critically acclaimed discs underneath her belt Don’t Tempt Me and Close Your Eyes (2012 Best Jazz Album ARIA Winner)– she began attracting the attention of many international jazz stars visiting Melbourne. With her eyes set on attending the Berklee College of Music in Boston, she participated in one of the college’s off-site jazz camps at the Umbria Jazz Festival in 2012, where she won both a full scholarship at the prestigious music school and an opportunity to perform at the festival. She graduated from Berklee in May 2015 with a degree in jazz performance. Sarah McKenzie has performed at jazz´s iconic places, the festivals in Monterey, Juan-les-Pins, Marciac and Perugia, Dizzy´s and Minton´s in New York, as well as the top clubs in Paris, London, Vienna, Munich and Sydney. Together with the Boston Pops Orchestra she premiered one of her compositions at Boston´s Symphony Hall. Last but not least, the Australian version of “We Could Be Lovers” won the Bell Award for Best Australian Vocal Album. Impulse! Label has released “We Could Be Lovers” worldwide in Spring 2015. http://www.sarahmckenzie.info/#story

Paris In The Rain

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Marjorie Barnes - Once You've Been In Love

Bitrate: MP3@320K/s
Time: 49:29
Size: 113.3 MB
Styles: Jazz vocals
Year: 1993/2009
Art: Front

[3:26] 1. Watch What Happens
[3:40] 2. Fascinating Rhythm
[3:43] 3. Once You've Been In Love
[5:55] 4. The Surrey With The Fringe On Top
[4:21] 5. He's My Guy
[4:15] 6. Isn't It A Pity
[4:33] 7. I've Got The World On A String
[4:57] 8. The Beauty And The Beast
[4:38] 9. A Little Tear
[3:30] 10. I Can't Believe That You're In Love With Me
[4:07] 11. No More Blues
[2:20] 12. Never Will I Marry

Once You've Been In Love is a wonderful easy listening / smooth jazz album by Marjorie Barnes (USA). Her great looks, great voice and professionalism make her a performer of international standing. Her collaboration on this album together with Dolf de Vries Trio, Toots Thielemans and Bob Schimscheimer guarantees beauty and success. Recommended!

Once You've Been In Love

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Tommy Emmanuel with The Australian Philharmonic Orchestra - Classical Gas

Bitrate: MP3@320K/s
Time: 52:22
Size: 119.9 MB
Styles: Guitar jazz
Year: 1995
Art: Front

[5:02] 1. Classical Gas
[5:20] 2. The Journey
[3:55] 3. Run A Good Race
[4:41] 4. Concierto De Aranjuez
[3:34] 5. She Never Knew
[2:39] 6. Gollywogs Cake Walk English Country Garden
[5:52] 7. Who Dares Wins
[5:23] 8. Initiation
[3:57] 9. The Hunt
[3:42] 10. Countrywide
[3:55] 11. Pan Man
[4:17] 12. Padre

Two-time Grammy nominee Tommy Emmanuel is one of Australia's most respected musicians. The legendary guitarist has a professional career that spans almost five decades and continues to intersect with some of the finest musicians throughout the world. A household name in his native Australia, Tommy has garnered hundreds of thousands of loyal fans worldwide. Tommy's unique style - he calls it simply "finger style" - is akin to playing guitar the way a pianist plays piano, using all ten fingers. Rather than using a whole band for melody, rhythm, bass, and drum parts, Tommy plays all that - and more - on one guitar. Guitar legend Chet Atkins was one of the first to inspire Emmanuel to try this "fingerpicker" style as a child. Decades later, Atkins himself became one of Emmanuel's biggest fans.

Classical Gas

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Trijntje Oosterhuis - The Look Of Love: Burt Bacharach Songbook

Bitrate: MP3@320K/s
Time: 56:36
Size: 129.6 MB
Styles: Jazz-pop vocals
Year: 2006
Art: Front

[3:13] 1. Do You Know The Way To San Jose
[3:52] 2. A House Is Not A Home
[4:31] 3. The Look Of Love
[2:48] 4. I Say A Little Prayer
[4:24] 5. Waiting For Charlie (To Come Home)
[4:08] 6. Falling Out Of Love
[3:05] 7. I'll Never Fall In Love Again
[3:06] 8. Walk On By
[4:31] 9. Alfie
[5:24] 10. Anyone Who Had A Heart
[5:14] 11. This House Is Empty Now
[3:43] 12. (They Long To Be) Close To You
[4:40] 13. The Windows Of The World
[3:50] 14. That's What Friends Are For

2006 album from the Dutch vocalist, a collaboration with songwriting legend Burt Bacharach. The Look Of Love: Burt Bacharach Songbook is a tribute to Bacharach featuring the man himself on piano. The Look Of Love is her second album for Blue Note, the follow-up to her 2004 double platinum effort Strange Fruit.

The Look Of Love: Burt Bacharach Songbook

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The Red Garland Trio - It's A Blue World

Bitrate: MP3@320K/s

Time: 39:10

Size: 89.7 MB

Styles: Bop, Piano jazz

Year: 1958/1999

Art: Front

[ 8:27] 1. This Can't Be Love

[12:39] 2. Since I Fell For You

[ 3:26] 3. Crazy Rhythm

[ 9:02] 4. Teach Me Tonight

[ 5:34] 5. It's A Blue World

Double Bass – Paul Chambers; Drums – Art Taylor; Piano – Red Garland.

Of the miles of Red Garland sessions recorded in the late '50s, some of the tapes didn't see the light of day until many years later. This session, except for "Crazy Rhythm," first appeared in the early '70s, and is typical of Garland's trio work of the '50s, evoking a mid-century nightclub atmosphere from Rudy Van Gelder's studio with the perfectly gauged help of bassist Paul Chambers and drummer Art Taylor. "Since I Fell for You" and "Teach Me Tonight" are taken at relaxed tempos, and after Garland's trademark block chords in the left hand and octaves in the right hand take care of the themes, they ride easily and winningly. "Crazy Rhythm" zips along at the usual steeplechase pace, with a fluid bebop solo from Garland and some agile bowing from Chambers (Chambers also gets an unusually lengthy bowed solo on "This Can't Be Love"), and the title track closes the CD reissue on a jaunty note. Garland fans -- and for that matter, fans of Vince Guaraldi, whose chord voicings very much resemble those of Garland -- need not hesitate. ~Richard S. Ginnell

It's A Blue World

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New York Trio - Essential Best

Bitrate: MP3@320K/s
Time: 71:43
Size: 164.2 MB
Styles: Mainstream jazz
Year: 2009
Art: Front

[6:35] 1. I Could Have Danced All Night
[5:05] 2. Blue Skies
[5:44] 3. As Time Goes By
[7:45] 4. How High The Moon
[4:32] 5. Star Crossed Lovers
[6:13] 6. Lover Come Back To Me
[6:34] 7. Lullaby Of The Leaves
[6:13] 8. My Heart Belongs To Daddy
[8:03] 9. You'd Be So Nice To Come Home To
[5:18] 10. I Didn't Know What Time It Was
[5:41] 11. Cheek To Cheek
[3:57] 12. They Say It's Wonderful

Also known as the New York Jazz Trio, this combo is a studio-only group who specialize in recording classic standards in a straightforward, post-bop style. The New York Trio features three gifted musicians who are firmly established on the East Coast jazz scene. Pianist Bill Charlap is a member of the Phil Woods Quintet, has accompanied the likes of Tony Bennett, Benny Carter, and Gerry Mulligan, and has recorded a handful of well-received albums for Blue Note as a bandleader. Bassist Jay Leonhart has recorded as a headliner since 1983, while also making a name for himself as a vocalist and songwriter as well as backing up Marian McPartland, Louie Bellson, Lee Konitz, and many others. And drummer Bill Stewart had handled demanding gigs with a variety of musicians, including jazz guitarist John Scofield, funky sax man Maceo Parker and R&B legend James Brown. In 2001, Charlap, Leonhart, and Stewart teamed up in the studio to cut the album Blues in the Night for the Venus Jazz label; featuring leisurely but heartfelt interpretations of eight classic melodies, the album was well-received by fans of classic jazz. Seven similar collections have been recorded by the trio for Japanese jazz labels. ~ bio by Mark Deming

Essential Best

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Rob Parton's Jazztech Big Band - Two Different Days

Styles: Jazz, Big Band
Year: 2004
File: MP3@320K/s
Time: 73:05
Size: 172,1 MB
Art: Front

(3:36)  1. Soon
(7:11)  2. On A Misty Night
(3:50)  3. Speak Low
(8:13)  4. How Deep Is The Ocean
(5:27)  5. Take The 'A' Train
(3:56)  6. I'm Getting Sentimental Over You
(6:43)  7. Blue Daniel
(5:41)  8. Never Will I Marry
(5:41)  9. My One And Only Love
(6:39) 10. Bernie's Tune
(4:46) 11. Blue Getz Blues
(6:06) 12. Two Different Days
(5:09) 13. She's Gone

Two Different Days and one terrific band. This is the sixth album recorded by trumpeter Rob Parton's cyclonic ensemble from the Windy City, and while every one of them has been spectacular in its own way, this one may well earn the blue ribbon as best in show. Simply put, this is a band that has everything scrupulous section work, stalwart soloists and a superb rhythm section spearheaded by Chicago's premier big band drummer, Bob Rummage. But even though the competition is fierce, what sets Days apart from Parton's earlier albums, in this reviewer's opinion, is his splendid choice of material, which leaves absolutely nothing to be desired. It's almost as if Parton said to his sidemen, "Let's get together in a studio and record some songs that Jack Bowers would really appreciate." That didn't happen, of course, but it may as well have, as the outcome is the same. Any album that opens with a mind-blowing arrangement of George Gershwin's "Soon," as this one does, has laid a hammerlock on my heart from the outset. That's the first of five markedly impressive charts by ace writer Don Schamber, complementing two apiece by Thomas Matta, Chris Madsen and Kirk Garrison, trombonist Tom Garling's dynamic "Two Different Days" and Cliff Colnot's ethereal orchestration (with string section) of Chuck Mangione's soulful "She's Gone." Parton, one of that rare breed of trumpeters who plays jazz as well as he plays lead and that's about as well as anyone can is showcased on "Speak Low," "My One and Only Love" and "She's Gone," tenor saxophonist Mark Colby on the debonair "Blue Getz Blues," Garling on bass trombonist Matta's fast-paced treatment of the venerable Tommy Dorsey theme "I'm Getting Sentimental Over You." 

Matta also arranged Tadd Dameron's bop classic "On a Misty Night," which houses handsome solos by pianist Don Stille, flugel Ron Ruvio and guest alto Mike Smith. Trumpeter Garrison shares the solo spotlight with Colby on Frank Rosolino's "Blue Daniel," and with Colby, lead alto Bob Frankich and trombonist Tim Coffman on Bernie Miller's "Bernie's Tune," both of which he arranged. Stille and Parton are unerring on Madsen's arrangement of "Never Will I Marry," Garling and guitarist Chris Siebold the same on Irving Berlin's "How Deep Is the Ocean," another Schamber chart, as is Billy Strayhorn's "Take the 'A' Train" (solos by Stille, tenor Brian Budzik, trombonist Brian Jacobi, baritone Ted Hogarth). Coffman, Colby and trumpeter Mike McGrath present well-crafted statements on "Soon," Garling and trumpeter Ruvio on "Two Different Days." Parton, who has been presiding over the JazzTech Big Band for more than two decades, says the ensemble has found its identity "as a straight-ahead, swingin', hometown Chicago band performing because we love to play creative and original big-band Jazz." That's more than mere philosophy; it's an undeniable fact, one that Two Different Days, one of the year's most impressive big band albums, readily underscores and emphatically affirms. ~ Jack Bowers https://www.allaboutjazz.com/two-different-days-rob-parton-sea-breeze-jazz-review-by-jack-bowers.php

Personnel: Rob Parton, leader, trumpet, flugelhorn;  Scott Wagstaff, Kirk Garrison, Mike McGrath, August Haas (7, 10), Fred Powell (3, 4, 9, 10),  Marty Tilton (1, 5), trumpet;  Bob Frankich, Ken Partyka (6, 8), alto sax;  Bob Reszutko, alto sax, flute;  Mark Colby, Brian Budzik, tenor sax;  Ted Hogarth, baritone sax;  Tom Garling, Tim Coffman (2-4, 9), Andy Baker (1, 5, 7, 10), Brian Jacobi (1-5, 7, 9, 10-12), Dan Johnson (6, 8), Bryan Tipps (1, 3-9), trombone; Thomas Matta, bass trombone; Don Stille, piano; Chris Siebold, guitar; Tim Fox, bass; Bob Rummage, drums. Guest artist -- Mike Smith (2), alto sax.

Two Different Days

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Diane Blue - Here I Am

Styles: Vocal, R&B
Year: 2006
File: MP3@320K/s
Time: 47:32
Size: 109,5 MB
Art: Front

(3:41)  1. Muddy Water
(4:47)  2. Since I Fell For You
(5:04)  3. Restless
(4:59)  4. Piece Of My Heart
(3:58)  5. Good Times
(4:08)  6. There I Was ... Here I Am
(3:44)  7. Walking The Dog
(5:12)  8. God Bless The Child
(3:54)  9. Love Makes A Woman
(4:21) 10. My Daily Prayer
(3:38) 11. Gypsy Child

On this, her first full-length CD project, Ms. Diane Blue belts out a funky soul tune, then she’ll sing a sweet ballad, just before she blows you away on the blues harp. Ms. Diane Blue is soulful and sassy. On “Here I am”, Ms. Blue presents a collection of jazzy, bluesy, funky, groovy cover songs and three of her own original songs. With the finest professional musicians in the NorthEast, the performance of this collection of songs is top-notch. Marty Ballou on bass, Vinny Pagano on drums, Sax Gordon Beadle, Mike Duke and Chris Stovall Brown on guitar, Steve Burke on keyboard and organ, Johnny Juxo and Mark Taber on piano. Ms. Blue's performance is reminiscent of her influences: Aretha Franklin, Gladys Knight and Janis Joplin. She has shared the stage with Luther Guitar Junior Johnson, Sherman Robertson, and members of Roomful of Blues and Dave Howard & the High Rollers, to name a few. “When she gets her harp & mic going, the language is hard hitting blues. Strong, confident and tasteful” says Domenic Forcella of Blues Beat. http://www.cdbaby.com/cd/dianeblue

Here I Am

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Rich Perry - At The Kitano 3

Styles: Saxophone Jazz
Year: 2010
File: MP3@256K/s
Time: 63:39
Size: 117,0 MB
Art: Front

(13:19)  1. Night Market
(10:33)  2. Blue In Green
( 6:45)  3. There Is No Greater Love
(10:41)  4. I Love You
(14:27)  5. Stablemates
( 7:50)  6. Giant Steps

A fine young veteran tenor player, Rich Perry went on the road in 1975 with the Glenn Miller ghost band. In 1976, he moved to New York and joined the Thad Jones/Mel Lewis orchestra. He went on to play with a wide variety of top players including Chet Baker, Machito, Bob Moses, Jack McDuff, Billy Hart, Eddie Gomez, Tom Harrell, the Mel Lewis big band, and Harold Danko. Rich Perry first recorded as a leader in 1993 for SteepleChase. ~ Scott Yanow https://itunes.apple.com/us/artist/rich-perry/id81007264#fullText

Personnel:  Rich Perry, tenor sax;  Harold Danko, piano;  Jay Anderson, bass;  Jeff Hirshfield, drums.

At The Kitano 3

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Milt Jackson and Wes Montgomery - Bags Meets Wes!

Styles: Vibraphone Jazz
Year: 1961
File: MP3@320K/s
Time: 61:07
Size: 141,8 MB
Art: Front

(5:17)  1. S. K. J.
(5:48)  2. Stablemates (Take 4)
(3:40)  3. Stairway To The Stars (Take 3)
(4:48)  4. Bluz Roz
(6:06)  5. Sam Sack
(6:56)  6. Jingles (Take 9)
(6:13)  7. Delilah (Take 4)
(5:17)  8. Stablemates (Take 2) (bonus track)
(3:47)  9. Stairway To The Stars (Take 2) (bonus track)
(6:53) 10. Jingles (Take 8) (bonus track)
(6:18) 11. Delilah (Take 3) (bonus track)

It’s unfair to blame Wes Montgomery for the soulless work of those who claim him as an influence; his trademark octave runs became a cash cow for the smooth jazz associated with the piped-in music of doctor’s offices and grocery stores. In reality, Montgomery was a much sought-after player by many; even Coltrane played with him for a time. Montgomery gives the impression that playing the guitar requires no less concentration than tying your shoes, fashioning a style admired (and imitated) by many. Milt Jackson, an amateur guitarist himself, reportedly leapt at the chance to play with him on this outing. Jackson seems to enjoy escaping the restrictive confines of the systematic Modern Jazz Quartet for some hard bop workouts, and the rhythm section is filled with perfect choices to achieve this goal. Nothing is taken at a tempo that would quicken the pulse, yet the metallic chime of the vibes is a perfect foil for the snap of Montgomery’s guitar. It’s surprising, given the title of the album, that the leaders are so generous with the spotlight, giving the rhythm section ample solo space; it would have been nice to hear Montgomery and Jackson really have a go at each other on some of the more spirited numbers. Nevertheless, they turn in a finer version of “Delilah” than Brown and Roach did, and “Stairway to the Stars” is simply beautiful. It’s not surprising that the mutual admiration provide an outing that is such a great listen. ~ David Rickert https://www.allaboutjazz.com/bags-meets-wes-milt-jackson-fantasy-jazz-review-by-david-rickert.php
 

Personnel:  Milt Jackson-vibes;  Wes Montgomery-guitar;  Wynton Kelly-piano;  Sam Jones-bass;  Philly Joe Jones-drums.

Bags Meets Wes!

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Joel Harrison & Anupam Shobhakar, Multiplicity - Leave The Door Open

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 59:09
Size: 136,6 MB
Art: Front

( 9:50)  1. The Translator
( 7:04)  2. Leave The Door Open
( 8:06)  3. Madhuvanti
(11:27)  4. Mulitplicity
( 6:20)  5. Spoonful
( 3:19)  6. Kemne Avul
( 3:24)  7. Turning World
( 3:48)  8. Devil Mountain Blues
( 5:46)  9. Deep River

If but a single word must describe guitarist/composer Joel Harrison it's restless; one look at his discography, from his "breakthrough" Free Country (ACT, 2003) to the 19-piece big band of Infinite Possibility (Sunnyside, 2013) and it's clear that this Guggenheim Fellowship Award winner isn't content in any one place for long. Leave the Door Open may be his first album of 2014 and yet another departure, this time exploring an improv-heavy kind of world music sourced from the East and West in collaboration with Indian sarodemaster Anupam Shobhakar but there's another album on the horizon that focuses on Harrison the guitarist (Mother Stump, coming on Cuneiform in May), and yet another already in the can, equally different, and looking for a label.  Harrison's work is always collaborative, but other than covering classic songs from the past, more often than not the guitarist is the sole composer. Leave the Door Open is, then, another anomaly in a career filled with them: a recording that splits compositional duties with Shobhakar in a group called Multiplicity, in addition to bringing in some unique interpretations of an old blues standard, one rearranged piece each from the American and Indian traditions, and a collaborative composition from the two leaders. It's a heady brew that doesn't so much find a meeting point where East and West meet as it does blow the door open between the two, allowing the music to seamlessly ebb and flow from and towards both sides, creating something that's the sum total of both but equally reverent to their individual touchstones.

As ever, Harrison's choice of band mates is astute: the ever versatile keyboardist Gary Versace brings harmonic abstraction and rich color, few able to touch his ability to get past the Hammond organ's soul-drenched jazz tradition and employ it in a more purely textural fashion adaptable to any context; bassist Hans Glawischnig's associations may, more often, be better known than he is, but whether playing in trio with Donny McCaslin or exploring Puerto Rican plena music with Miguel Zenon, he's proven a flexible and creative anchor; drummer/tablaist Dan Weiss may be the most intrinsically suited, having studied Indian music extensively, migrating a traditional tabla solo to drum kit on Tintal Drum set Solo (Chhandayan, 2005). Guests include saxophonist David Binney, who elevates Harrison's opening epic "The Translator" with a solo that picks up where Versace's combination of virtuosity and thematic construction leaves off, shooting it into the stratosphere as the pianist, Glawischnig and Weiss provide the extra boost. But Multiplicity really belongs to Harrison and Shobhakar, whether exploring the meshing of Shobhakar's microtonally capable sarode with electric guitar (Harrison's dark-hued title track); turning to Eastern linearity (Shobhakar's "Mudhuvanti"), the composer's solo building to a whirling dervish of a climax only to later engage in an incendiary, set-defining duet with Weiss; or re-harmonizing bluesman Willie Dixon's classic "Spoonful" into a lyrical ballad where Shobhakar's viscerally bent notes blend seamlessly with Harrison's National steel guitar slide.  With Harrison and Shobhakar's stylistic confluence, intuitive interpretive skills and compelling compositional abilities, Leave the Door Open is a Harrison project that, hopefully, won't be a one-time affair. ~ John Kelman https://www.allaboutjazz.com/leave-the-door-open-joel-harrison-whirlwind-recordings-ltd-review-by-john-kelman.php
 

Personnel: Joel Harrison: electric, National steel, acoustic and baritone guitars; Anupam Shobhakar: sarode; Gary Versace: piano, Hammond B-3organ, accordion; Hans Glawischnig: acoustic and electric bass; Dan Weiss: drums, tabla; David Binney: alto saxophone (1, 3); Todd Isler: percussion (6, 8); Bonnie Chakraborty: voice (6); Chandrashekar Vase: voice (4).

Leave The Door Open

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Jose Feliciano - The King: By Jose Feliciano

Size: 104,4 MB
Time: 45:11
File: MP3 @ 320K/s
Released: 2012
Styles: Pop Rock
Art: Front & Back

01. Don't Be Cruel (3:16)
02. You Are Always On My Mind (3:39)
03. I Remember You (3:41)
04. All Shook Up (3:33)
05. Loving You (3:24)
06. Lonesome Tonight (3:50)
07. Can't Help Falling In Love With You (4:10)
08. Love Me Tender (3:59)
09. I Want You, I Need You, I Love You (5:03)
10. Teddy Bear (2:27)
11. It's Midnight (4:01)
12. In The Ghetto (4:03)

With a career that has earned him nine Grammy Awards, including the LARAS Lifetime Achievement Award, and worldwide acclaim that has spanned three generations, Jose Feliciano now indulges himself in a lifelong dream to honor his childhood hero - Elvis Presley. The King: By Jose Feliciano visits some of Elvis' greatest hits as well as some of Jose's favorite songs. The highly acclaimed guitarist, singer and composer returns to his youth to rekindle his passion for Elvis. After over a year in his private studio, Jose handpicked 12 Elvis songs. He arranged each one, played all of the instruments, recorded all of the background vocals and branded each song with his own distinctive voice and guitar genius

The King

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Doug Munro & II-V-I - Up Against It

Size: 131,8 MB
Time: 56:55
File: MP3 @ 320K/s
Released: 2002
Styles: Jazz: Guitar Jazz, Hammond Organ
Art: Front

01. Donna Lee (4:42)
02. Doggett (3:56)
03. Bop (5:10)
04. E Thang (8:35)
05. Up Against It (5:00)
06. Softly As In A Morning Sunrise (6:49)
07. Thoughts Of You (4:49)
08. Old Style (6:35)
09. Caravan (6:35)
10. Soul Lullaby (4:41)

Guitarist Doug Munro has a chicken-scratch sound and penchant for brief melodic statements that can be infuriating for those jazz passengers waiting for aural liftoff. John Scofield-isms aside, Munro's Up Against It does contain some inventive arrangements based around the Hammond B-3 organ of Jerry Z. Despite a humdrum version of Miles Davis and Charlie Parker's "Donna Lee," most of Up Against It is easily recommended. Notably, Munro's version of "Softly As in a Morning Sunrise" utilizes a creepy, Munsters-sounding background organ riff, while the title track is straight-up '60s soul-jazz. ~by Matt Collar

Up Against It

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Fem Belling - Now Then

Size: 100,2 MB
Time: 40:21
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Lose Yourself (3:37)
02. Happy (3:52)
03. Can't Get You Out Of My Head (3:39)
04. Moves Like Jagger (4:20)
05. Angels (4:21)
06. Single Ladies (3:14)
07. Physical (3:08)
08. Moving (3:14)
09. Hello (4:56)
10. Family Guy (2:55)
11. War (3:00)

An infectious collection of hit tunes with a vintage twist. A swingin’ 7 piece band. Fem’s sophisticated voice and spectacular range slays on some unexpected genres. Think Ella meets Eminem, Nina Simone meets Newton John Hip reinventions.

South African born jazz vocalist and violinist, Fem Belling, has exploded onto the Melbourne Jazz Scene.

She is emerging as one of Australia's formidable and exciting new jazz performers. Her African Jazz and theatre roots augment her unique musicality, choices and interpretations evidencing a rich thread of international cultural exchange.

Her versatile voice and powerful stage presence, lends authenticity, verve and warmth to the jazz classics. Fem finished playing the role of Liza Minnelli opposite Todd McKenney in The Smash Hit THE BOY FOM OZ

This ARIA nominated artist has sung and played with many of the jazz greats from South Africa, London (Ronnie Scotts) and Australia including John Foreman, The Joe Ruberto Trio, The Public Opinion Afro Orchestra (earning an ARIA nomination), The Grand Wazoo, JMQ, Rory Clarke, The Daryl Mckenzie Jazz Orchestra, George Washingmachine and can be seen in Melbourne's top music venues including Dizzys Jazz Cafe and Bennetts Lane Jazz Club.

Now Then

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Mads Tolling & The Mads Men - Playing The 60s

Size: 158,2 MB
Time: 67:52
File: MP3 @ 320K/s
Released: 2017
Styles: Instrumental/Vocals Jazz
Art: Front

01. A Taste Of Honey (4:57)
02. Meet The Flintstones (3:55)
03. Georgia On My Mind (5:21)
04. My Girl (Feat. Kalil Wilson) (3:51)
05. The Pink Panther (4:55)
06. All Along The Watchtower (4:35)
07. The Look Of Love (Feat. Spencer Day) (3:58)
08. Mercy Medley (5:23)
09. Mission Impossible (4:20)
10. A Time For Us (3:34)
11. The Good, The Bad And The Ugly (4:04)
12. What A Wonderful World (Feat. Kenny Washington) (5:44)
13. Peter Gunn (3:41)
14. Hawaii 5-0 (4:44)
15. Beautiful Savior (Feat. Stanley Clarke) (4:42)

Mads Tolling is a Danish classically trained violinist currently living in San Francisco. After touring with jazz bassist Stanley Clarke and an eight year stint plus two Grammy Awards with the jazz string ensemble the Turtle Island Quartet, he is now on his own.

His press release states that his new release, Playing The 60s, “draws material from the era evoked by the award-wining series AMC series Mad Men.” I’m not sure how much the series influenced the song selection, but Tolling manages to take an eclectic group of ‘60s material and give them jazz interpretations.

The violin is a rarely used jazz instrument, but in the right hands it and setting, it can provide an interesting sound. Tolling surrounds himself with keyboardist/accordion player Colin Hogan, bassist Sam Bevan, drummer Eric Garland, and singers Kalil Wilson, Spencer Day, and Kenny Washington. Also on hand as a guest is his former boss Stanley Clarke. Together, they provide a nice foundation for Tolling to improvise on the various melodies.

Television themes such as “Peter Gunn,” “Hawaii 5-0,” “Mission Impossible,” “The Pink Panther,” and “Meet The Flintstones” are modernized nostalgic pieces.

The old Herb Alpert hit, “A Taste Of Honey,” undergoes a number of tempo changes and concludes with a tasty drum solo. “Beautiful Savior” is an old German hymn that is a vehicle for a violin/bass duet between Tolling and Clarke. Perhaps the most interesting track is his Latin version of the rock classic “All Along The Watchtower.”

The vocal tracks travel in a number of directions. Spencer Day gives an understated vocal on “The Look Of Love.” Kalil Wilson fuses a soul vocal with a jazz foundation on “My Girl.” Kenny Washington presents the most traditional interpretation with “What A Wonderful World.”

Mads Tolling’s sound is a little unusual but is brilliant in places. His ability to use his jazz training as the impetus for his jazz sets him apart from most of his contemporaries. Playing The 60s is a nice introduction to a musician with an unusual approach to his craft. ~by David Bowling

Playing The 60s

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Ada Montellanico - Abbey's Road

Size: 142,8 MB
Time: 61:20
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Abbey (4:44)
02. Bird Alone - Singing In The Night (6:22)
03. First Song (5:17)
04. Long As You're Living (4:31)
05. Driva Man - Freedom Day (3:06)
06. Throw It Away (7:27)
07. Wholey Earth - Giant Hand (6:09)
08. When Love Was You And Me (4:07)
09. Talking To The Sun (4:32)
10. Just Do It (3:24)
11. Rainbow (5:38)
12. Caged Bird (5:57)

Personnel:
Ada Montellanico (Voce)
Ermanno Baron (Batteria)
Filippo Vignato (Trombone)
Giovanni Falzone (Tromba)
Matteo Bortone (Contrabbasso)

Abbey Lincoln rappresenta una figura leggendaria non solo in ambito musicale ma per l’intero movimento Black Power. Cantante e autrice di autentica originalità, dal sound aspro e sensuale e dalle coloriture africane, Abbey Lincoln è stata iniziatrice di una nuova strada del jazz vocale, collocandosi idealmente vicina ad altre grandi artiste quali Billie Holiday e Nina Simone.
Dagli anni ’60 a fianco di Max Roach, la sua carriera artistica, è stata sempre unita alla sua intensa attività in seno alla comunità nera, facendo sì che la sua musica diventasse cassa di risonanza nella denuncia delle discriminazioni razziali vissute dalla popolazione afroamericana.

Su questo percorso di impegno sociale si colloca il nuovo progetto di Ada Montellanico che cammina sulla strada di Abbey abbracciando con passione i contenuti della sua vita artistica e politica.
Abbey’s road, esplora la Lincoln autrice senza tralasciare il suo lato di magnifica interprete di composizioni che hanno reso ricco quel panorama jazzistico, in cui la musica ha rappresentato un forte messaggio per l’emancipazione del popolo nero. Gli arrangiamenti sono totalmente originali tesi a restituire il senso profondo del repertorio di questa grande artista la cui dote Nat Hentoff ha descritto ammirevolmente come “capacità di diventare essa stessa parte di una canzone”.

Ada Montellanico, preziosa interprete tra le più importanti del panorama nazionale, presenta questo omaggio con etrema originalità ed empatia mettendo in risalto la forza narratrice delle composizioni della Lincoln ed esaltando quello che è il carattere africano della suo mondo sonoro e la sua profonda trasgressività. La scelta di creare una band atipica, caratterizzata dalla mancanza di uno strumento armonico dona a questa particolare formazione un sound energico e coinvolgente, esaltato dagli arrangiamenti curati dal grande trombettista Giovanni Falzone. A loro si uniscono alcuni degli astri nascenti del jazz italiano: Matteo Bortone al contrabbasso, vincitore del Top Jazz 2015, Filippo Vignato al trombone e Ermanno Baron alla batteria.

Abbey's Road

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