Etta Jones - The Oliver Nelson Orchestral Arrangements

Bitrate: MP3@320K/s
Time: 68:49
Size: 157.5 MB
Styles: Vocal jazz
Year: 2013
Art: Front

[4:19] 1. Unchained Melody
[3:43] 2. All My Life
[2:03] 3. I Wish I Didn't Love You So
[2:56] 4. The Masquerade Is Over
[2:26] 5. You Came A Long Way From St. Louis
[2:13] 6. By The End Of The River
[2:49] 7. Makin' Whoopee
[3:19] 8. There Goes My Heart
[3:04] 9. I'll Never Be Free
[2:25] 10. Look For The Silver Lining
[3:06] 11. Funny (Not Much)
[4:05] 12. I'm Through With Love
[2:59] 13. Just Friends
[3:34] 14. How Deep Is The Ocean
[2:49] 15. Can You Look Me In The Eyes
[3:35] 16. Hurry Home
[3:05] 17. And This Is My Beloved
[2:07] 18. They Can't Take That Away From Me
[1:59] 19. You Better Go Now
[3:34] 20. I Laughed At Love
[2:34] 21. Good Morning, Heartache
[2:44] 22. If You Were Mine
[3:09] 23. You Don't Know What Love Is

Etta Jones came to the public attention in the 1940s, but after she was revealed as a potentially important artist, nothing much happened commercially with her records. So, after a long period of obscurity, the arrival of Etta Jones in the LP best seller lists in 1961 was a stunning illustration of how suddenly an almost neglected artist could become a name vocalist with two albums: "So Warm" and "From the Heart" compiled here in one CD. Miss Jones' sense of drama was to lie about midway between Ethel Waters and Billie Holiday, but remained within hailing distance of Dinah Washington. That said, she was her own stylist. She had the ability to project a wide variety of moods, from anguish to exuberance. The arrangements on both albums, which include some handsome string writing, are by Oliver Nelson and were perhaps his most impressive achievement until then. Nelson had never written for strings before, and his only vocal-background arrangements had been for small combinations. "I wrote as though the voice were an instrument," he said. Because of this, he took several chances and got away with them. Nelson gave Miss Jones some of the most complex accompanying lines to sing over ever confronting anyone.

The Oliver Nelson Orchestral Arrangements

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Eight To The Bar - You Call This Swing?

Bitrate: MP3@320K/s
Time: 45:06
Size: 103.3 MB
Styles: Swing, Jump blues
Year: 2003
Art: Front

[3:32] 1. Rock And Roll
[3:03] 2. Hello, I Love You
[3:22] 3. Living In The Usa
[3:57] 4. Rag Doll
[4:36] 5. Synchronicity Ii
[3:08] 6. White Rabbit
[3:41] 7. Ticket To Ride
[4:23] 8. Low Down
[3:23] 9. Satisfaction
[4:36] 10. Young Americans
[3:38] 11. Foxey Lady
[3:40] 12. I Want You

Drawing its musical influences from American roots music- swing, jump blues, and boogie woogie- Eight to the Bar is known for its outstanding instrumentalists and sophisticated musical and vocal arrangements, highlighted by 4-part male/female vocal harmonies. With the support of independently produced CDs and videos, Eight to the Bar has cultivated a large, enthusiastic following that has put them in clubs and festivals from London to L.A. Their rigorous performing schedule (approximately 200 dates per year) has included shows with Big Bad Voodoo Daddy, Manhattan Transfer, Robert Cray, Neil Young, the late Ray Charles, and a recent 5-country European tour.

"You Call This Swing?", their 9th CD, was born from a need to take a fresh approach to making another swing CD. Taking 12 of their favorite classic rock tunes, they broke them down, spun them around, applied their swing and jazz sensibilities, and added some of their trademark wackiness, resulting in a lively, varied record that has captivated both swingers and rockers alike.

You Call This Swing?

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Allan Vaché - One For My Baby

Bitrate: MP3@320K/s
Time: 62:47
Size: 143.7 MB
Styles: Clarinet jazz
Year: 1991
Art: Front

[4:42] 1. Shiny Stockings
[6:37] 2. If She Walked Into My Life
[5:38] 3. Just Friends
[4:44] 4. Autumn In New York
[4:12] 5. It's You Or No One
[5:52] 6. Lover Man
[3:20] 7. Drum Boogie
[5:48] 8. I'm All Better Now
[4:34] 9. Night In Tunisia
[5:53] 10. Willow Weep For Me
[4:38] 11. My Kind Of Town
[6:43] 12. One For My Baby

Allen Vache (cl, leader); John Sheridan (p); Howard Elkins (g); Jack Wyatt (sb, v).

Allan Vache remains a very underrated jazz clarinetist. This cd with John Sheridan on piano is a very good listen. The selection of songs is superb and the melodies are never lost. A gem. ~Frank G. Santy

One For My Baby

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Lara Luppi & The Vintage Kings - Hot Cherries

Bitrate: MP3@320K/s
Time: 34:23
Size: 78.7 MB
Styles: Retro swing
Year: 2017
Art: Front

[2:06] 1. Tennessee Saturday Night
[2:49] 2. A Slip Of The Lip
[3:46] 3. Comes Love
[3:02] 4. My Babe
[2:55] 5. Bésame Mucho
[2:41] 6. Baby It's Cold Outside
[2:51] 7. Willie And The Hand Jive
[2:59] 8. Ain't That Good News
[3:11] 9. Blue Skies
[2:32] 10. Gee Baby Ain't I Good To You
[2:47] 11. Sixteen Tons
[2:37] 12. Swing Brother Swing

Welcome to an extraordinary artist proposing with Cose Sonore her album Hot Cherries. Lara Luppi, featuring The Vintage Kings sings in this album dedicated to Swing, Lindy-Hop and Retro-Vintage, twelve songs taken from the most significant repertoire of the genre: from Comes Love to Sixteen Tons passing through Blue Skies, from Willie and the Hand Jive to Baby It's Cold Outside sung in duet with Claudio "Greg" Gregori.

Hot Cherries

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Martin Taylor - The Valley

Bitrate: MP3@320K/s
Time: 47:10
Size: 108.0 MB
Styles: Jazz guitar
Year: 2004
Art: Front

[3:49] 1. I Wish I Knew How It Would Feel To Be Free
[5:19] 2. The Fair Haired Child
[4:14] 3. The Valley
[3:30] 4. Bridge Over Troubled Water
[4:46] 5. God Bless The Child
[3:10] 6. Somewhere
[4:39] 7. Hymn
[4:24] 8. Don't Know Why
[3:14] 9. Bewitched, Bothered & Bewildered
[3:27] 10. I've Got You Under My Skin
[3:33] 11. Have You Met Miss Jones
[2:58] 12. Kwame

After the passing of Joe Pass, Britain's Martin Taylor has risen to become one of the premier jazz guitarists on the scene. Despite that, he's presented on a relatively small label here. The music is a mix of original compositions by Taylor (and compatriot Simon Dinnigan) and standards from around the jazz repertoire. Taylor has a relatively light touch, reminiscent, at times, of some new age players. Simultaneously though, he can pick his way through intricate passages akin to a piano player. At that however, not necessarily a jazz piano player. Taylor is admittedly influenced by the likes of Art Tatum, but his style is almost that of a classical pianist through much of the recording, and certainly on the order of a classical guitarist. Guest vocalists are present (opera singer Bryn Terfel and Sacha Distel in particular), though their talents don't quite fit with Simon & Garfunkel covers, truthfully. Overall, the covers are nice, though not always fitting. The originals are where Taylor really shines, letting his style flow as it will through the passages without worrying about remaining true to the original composers. Worth a listen for jazz guitar fans, though Taylor is likely not unheard of for those in the know anyway. ~Adam Greenberg

The Valley

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Luis Perdomo - Links

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 69:36
Size: 160,8 MB
Art: Front

(6:13)  1. Percy's Delight
(6:13)  2. Waiting Time
(7:46)  3. Crossmind Dreams
(5:01)  4. Profundo
(7:17)  5. The 'A' List
(6:47)  6. The Organ Grinder
(5:52)  7. Enigma
(4:49)  8. Three Card Molly
(7:05)  9. Melisma
(8:04) 10. Paco
(4:24) 11. Elena

It's traditional in almost all genres of music that the innovators are always given the most attention. This holds true in jazz as right now as artists like Robert Glasper, Rudresh Mahanthappa, and Darcy James Argue's Secret Society are praised for being bold innovators in the world of jazz. While innovation and boundary- pushing are necessary in the development of jazz, there is also great value in doing something traditionally, but executing it perfectly. Especially in jazz, which is so focused on improvisation, just as much innovation can occur in the solos the artists play as in blending of styles or new instrument combinations.

For his 2013 release, Links, New York based pianist, Luis Perdomo, put together about as traditional an small ensemble as you can get. The saxophone quartet has been a standard group in the jazz world almost as long as the word jazz has been around. Despite the traditional setup, the group's playing is anything but, as they work their way through these eleven tunes, with originals contributed by everyone in the group and a couple off-the-beaten-path classics. Alto saxophonist, Miguel Zenon, is a longtime friend and colleague of Perdomo's and was an obvious choice for this quartet. Bassist Dwayne Burno and drummer Rodney Green have also collaborated with Perdomo in the past, so this is a quartet we can expect a lot from. The album starts off with "Percy's Delight," an up-tempo little tune written by drummer Rodney Green. The melody quickly gives way to Perdomo's solo where he demonstrates his subtly unique voice on the piano. His time feel and phrasing are both amazing and he gives Green and Burno plenty to work with rhythmically. They dutifully respond to his playing and follow his lead well. We got a quick listen to Zenon as he played the melody but following Perdomo's solo he shows off his unique sound, strong and confident, yet breathy and slightly reserved at the same time. This first tune alone shows Zenon to be a great foil for Perdomo and sets a great tone for the rest of the album.

"Waiting Time" is a very pretty swing tune written by Harold Danko who was one of Perdomo's piano teachers. Rodney Green really has fun on this tune playing with the time of the swing feel, first on brushes during the melody before switching to sticks for the solos. Once again Perdomo and Zenon display their great connection as Perdomo seamlessly passes the baton to Zenon for his solo. "Crossmind Dreams" is a little contrapuntal theme by Perdomo which quickly dissolves into a floaty, free-time feel as the group follows Zenon's lead. However Zenon quickly guides the rhythm section into a driving swing. The group takes the same approach for Perdomo's solo giving him some room to explore before taking off on that driving swing feel. "Profundo" starts out as a rubato ballad, showcasing Zenon's expressiveness and control of the alto. It soon develops into a relaxed straight-eighth groove that provides the perfect canvas for Zenon's and Perdomo's solos. 'The A List' is another Perdomo original and one of the catchiest tunes on the album. Zenon's solo starts out basic and gives the group plenty of room to build in his solo until he ends with the catchy riff from the melody. With plenty of room to stretch out Perdomo proves that he has a real talent for motivic playing in his solo as he also guides the rhythm section to a crescendo before finishing the tune. The album continues with "The Organ Grinder," an obscure Woody Shaw tune that Perdomo has re-arranged for this quartet. Perdomo takes the melody in the A sections, creating an interesting effect by letting Zenon double the repeated bass riff. The medium swing tempo of the song finds the rhythm section settling into a fantastic groove and Perdomo plays one of his most inspired solos on the album, showing off his skill both for playing deep in the pocket, and playing some impressive hemiolas and playing with the time. 'Enigma' is a beautiful and restrained sraight-eighth ballad. The floating melody dissolves into a bass solo that is most memorable for a "Girl From Ipanema" quote that can't help but elicit an eye-roll.

"Three Card Molly" is an interesting Elvin Jones tune that this group interprets in their own way. It seems to almost be leaning more toward a Latin feel but then shifts into a hard driving swing. Appropriately (since it's an Elvin Jones tune) the centerpiece of this song is a tasteful drum solo from Green. 'Melisma' is a beautiful ballad written by Dwayne Burno and the melody is beautifully interpreted by Zenon, however the tune falls into the trap of sounding a little too similar to some of the earlier ballads on the record and ends up being fairly forgettable. Zenon and Perdomo both play great solos where the rhythm section plays around with some double-time feels that help save the tune from being average. Miguel Zenon's "Paco" has a nice easy swing to it and provides a bit of a new direction on the album with it's waltz feel. The 3/4 time signature proves to be an interesting addition for this group as Rodney Green gets creative with keeping the time. "Elena," the album closer, is a simple theme written by bassist Mimi Jones, who happens to be Perdomo's wife. The shortest song on the album, it serves as a sort of tag to end the performance. This is an album of modern jazz, but it's jazz with a lot of traditional influence and approach. It doesn't rely on any 'gimmicks' for its originality but instead relies on the strength of the improvisers and of the group as a whole to really bring innovation to the music. Perdomo and Zenon's special relationship shines through in their playing and this album is well worth listening to, just to hear how well these two play together. ~ Andrew Luhn https://www.allaboutjazz.com/luis-perdomo-links-by-andrew-luhn.php
 

Personnel: Luis Perdomo: piano; Miguel Zenon: saxophone; Dwayne Burno: bass; Rodney Green: drums.

Links

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Janis Siegel - A Thousand Beautiful Things

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 60:04
Size: 137,9 MB
Art: Front

(7:42)  1. Hedden Place
(3:40)  2. The Suitcase Song
(6:01)  3. I Can't Help It
(5:31)  4. Caramel
(8:04)  5. A Thousand Beautiful Things
(4:35)  6. A Wish (Valentine)
(5:52)  7. Love
(4:59)  8. Make It Better
(1:41)  9. ...Till Then
(4:38) 10. Sweet Is the Air
(4:01) 11. Reflecting Light
(3:15) 12. Did You See the Moon Tonight?

The key word from the title of this latest release by singer Janis Siegel is beautiful. She interprets this lovely program of mainstream songs in such a way that we're able to sit back and reflect on the beauty that each one holds. Her message is sincere. Hers isn't some groove shop exercise where she entertains us with vocal acrobatics and whiz-bang instrumental technique. No, Siegel performs with genuine sincerity and delivers a message that reaches home, communicating with her audience and leaving a beautiful glow with each phrase. Edmar Casteneda's Colombian harp and the band's bright Latin jazz accompaniment gives Siegel a pleasant texture with which to sing songs of love and romantic pleasure. Caramel mambos into our hearts with a lightly dramatic flair; both Casteneda and pianist Edsel Gomez contribute stirring solo spots and suave accompaniment. Siegel sings this one with a romantic presence, multitracking the piece and filling it with positive thoughts. A Thousand Beautiful Things allows Siegel and her ensemble to bring a lovely mambo texture to the dance floor. The music simmers gently and she takes us for an exotic tour of far-off lands where the landscape is filled with nothing but spiritual pleasures, both wholesome and real. Paul Simon's "Love places the singer amid a chorus of voices that float gently over a syncopated Caribbean breeze. Here and elsewhere, Edsel Gomez adds considerable depth to Siegel's heartfelt interpretation. With Casteneda's harp as accompaniment, Siegel interprets "A Wish sincerely as a romantic Valentine's Day greeting. She closes the program with "Did You See the Moon Tonight? performed slowly with piano accompaniment: sweet, sincere and filled with the beauty that rest of her album delivers in abundance. ~ Jim Santella https://www.allaboutjazz.com/a-thousand-beautiful-things-janis-siegel-telarc-records-review-by-jim-santella.php
 

Personnel:  Janis Siegel: vocals, background vocals;  Edsel Gomez: piano, background vocals;  Edmar Casteneda: Columbian harp;  John Benitez: bass, background vocals;  Steve Hass: drums, background vocals;  Luisito Quintero: drums, percussion, background vocals;  Brian Lynch: trumpet, flugelhorn;  Marlon Saunders, Silvia Ramirez, Silvia Rodriques, Silvia Maria Romero, Silvia Rosario: background vocals.

A Thousand Beautiful Things

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Harold Danko Quartet - Nightscapes

Styles: Piano Jazz
Year: 2001
File: MP3@256K/s
Time: 59:41
Size: 109,4 MB
Art: Front

( 1:44)  1. Prologue and Episodes
( 7:53)  2. Night Space
( 8:05)  3. First Dream
( 5:43)  4. The Idea Loop
( 6:51)  5. Fourth Hour
( 8:43)  6. Insominique
( 8:59)  7. Weightless
(11:38)  8. Times' Irony

This intriguing set features nine originals by pianist Harold Danko, all of which have something to do with his impressions of night. The titles which include "Night Space," "Fourth Hour," "Insomnique," and "Times' Irony" are often quite impressionistic and melancholy, floating along as if in a dreamlike state, although sometimes displaying bits of explosive fire. Danko is joined by tenor saxophonist Rich Perry (a highly underrated and talented player), bassist Scott Colley, and drummer Jeff Hirshfield for the program, which grows in interest (due to its often eerie moods) with each listen. ~ Scott Yanow http://www.allmusic.com/album/nightscapes-mw0001179836

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

Nightscapes

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Rick Braun - All It Takes

Styles: Trumpet And Flugelhorn Jazz  

Year: 2009

File: MP3@320K/s

Time: 47:59

Size: 111,0 MB

Art: Front

(5:30)  1. Tijuana Dance?

(5:40)  2. Puerto Allegre Jam

(4:45)  3. Christiane

(4:59)  4. All It Takes

(4:09)  5. She's The One

(4:32)  6. I Got Your Back

(5:04)  7. Ever Changing World

(4:33)  8. Sleeveless In Seattle

(3:43)  9. Berlin

(5:00) 10. Freddie Was Here

Rick Braun has built his career as a contemporary trumpeter based on the basic concepts of predecessors like Herb Alpert, Chuck Mangione, and Tom Browne. Dependent on urban R&B beats, Braun can only marginally be called jazz, but does own an appeal to the smooth music crowd that this produced recording will only reinforce. Teamed with keyboardist and producer Philippe Saisse, Braun follows a path of least resistance in terms of the calculated nature of his music and the simplicity of his melodies. Saisse adds synthesized sounds for the most part alongside Braun's overdubbed flügelhorn and muted trumpet to create soundscapes made of clear plastic and reflecting some prismatic colors. There's not much to distinguish one track from another except slight midtempo changes and some Latin rhythms. "Christiane" uses the two-horn approach effectively in a fairly lyrical setting, "She's the One" is easy-beat funk with plain synths and percussion, "Sleeveless in Seattle" sports a retro sound with handclaps, and "I Got Your Back" offers assimilated horn backing in more substantive ways. On the salsa side, "Tijuana Dance?" is a romp-and-stomp funk with some elegant acoustic and electric guitar, while "Puerto Allegre Jam" is a Latin disco number. "Freddie Was Here" might be appropriate for a film score in a slowed late-night dramatic or perhaps romantic theme. Perhaps the most interesting music crops up during the heavier "Ever Changing World," with Braun's two horns stretching ever so slightly from his lyrically urbane sound. Fond of fluttery notes in introductions, Braun's self-absorbed, passive playing speaks to an urban crowd seeking predictable music, and in this regard he succeeds, remaining in the so-called pocket, not as syrupy as most, but sugary sweet like cotton candy.~ Michael G.Nastos http://www.allmusic.com/album/all-it-takes-mw0000820435

Personnel: Rick Braun (trumpet, flugelhorn, drums, programming); Vanessa Falabella Donada (vocals); Dwight Sills, Marc Antoine (guitar); Richard Elliot (saxophone); Nick Lane (trombone); Philippe Saisse (keyboards, drums, programming, drum programming); Tim Gant (keyboards, drums, programming); Jeff Lorber (keyboards, programming); Ricky Lawson, Simon Phillips (drums); Luis Conte (percussion).

All It Takes

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Richard Davis - Total Package

Styles: Jazz, Hard Bop, Post-Bop 
Year: 1997
File: MP3@320K/s
Time: 65:11
Size: 149,6 MB
Art: Front

(12:12)  1. Pam/Total PKG
( 9:29)  2. 7-10 Lombard
( 5:09)  3. Sweet'n
( 9:08)  4. Dealing
( 8:54)  5. Clean Jeans (Genes)
( 5:43)  6. Another
( 7:20)  7. Spooky Conversations
( 7:12)  8. Front Winder

A superb bass technician who doesn't have as extensive a recorded legacy as expected, Richard Davis has a wonderful tone, is excellent with either the bow or fingers, and stands out in any situation. He has been a remarkable free, bebop, and hard bop player, served in world-class symphony orchestras, backed vocalists, and engaged in stunning duets with fellow bassists. He does any and everything well in terms of bass playing: accompaniment, soloing, working with others in the rhythm section, responding to soloists, or playing unison passages. He combines upper-register notes with low sounds coaxed through the use of open strings. Davis studied privately nearly ten years in the '40s and '50s, while also playing with Chicago orchestras. He played with Ahmad Jamal, Charlie Ventura, and Don Shirley in the early and mid-'50s, then worked with Sarah Vaughan in the late '50s and early '60s, as well as Kenny Burrell. Davis divided his duties in the '60s between recording and performing sessions with jazz musicians and freelance work with symphony orchestras conducted by Leonard Bernstein and Igor Stravinsky. He recorded often with Eric Dolphy, including the unforgettable dates at the Five Spot. He also worked with Booker Ervin, Andrew Hill, Ben Webster, Stan Getz, Earl Hines, and the Creative Construction Company. Davis teamed with Jaki Byard and Alan Dawson on sessions with Ervin, and others like Rahsaan Roland Kirk. He also played with Van Morrison. During the '70s Davis worked with Hank Jones and Billy Cobham, and he was a member of the Thad Jones/Mel Lewis Orchestra in the '60s and '70s. Davis left New York in 1977 to teach at the University of Wisconsin in Madison, where he has remained as a professor into the 21st century. Concurrent with his life as an educator, he continued making intermittent appearances as a performer, including at the Aurex Jazz Festival in Tokyo in 1982, playing in a jam session led by trombonists J.J. Johnson and Kai Winding, and at the 1984 Chicago Jazz Festival. Davis was featured in the 1982 film Jazz in Exile. He's done relatively few recordings as a leader, though three Muse sessions are available on CD. The superb The Philosophy of the Spiritual, which matched Davis and fellow bassist Bill Lee, is not in print or on CD. Notable Richard Davis recordings during the 21st century include The Bassist: Homage to Diversity (a duo recording with John Hicks) issued by Palmetto in 2001, as well as two Japanese releases on the King label, So in Love in 2001 and Blue Monk (with pianist Junior Mance) in 2008. ~ Ron Wynn http://www.allmusic.com/artist/richard-davis-mn0000851653/biography

Personnel:  Acoustic Bass – Richard Davis ;  Drums – Andrew Cyrille;  Piano – Curtis Clark;  Tenor Saxophone – Ricky Ford

Total Package

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Cassandra Wilson - Closer To You: The Pop Side

Bitrate: MP3@320K/s
Time: 57:41
Size: 132.1 MB
Styles: Jazz vocals
Year: 2009
Art: Front

[4:54] 1. Love Is Blindness
[4:06] 2. Time After Time
[4:35] 3. Fragile
[5:47] 4. Closer To You
[5:13] 5. Last Train To Clarksville
[6:03] 6. The Weight
[5:38] 7. Tupelo Honey Angel
[4:59] 8. Harvest Moon
[5:26] 9. I Can't Stand The Rain
[5:06] 10. Lay Lady Lay
[5:49] 11. Wichita Lineman

Cassandra Wilson: guitar, vocals; Chris Whitley: guitar; Lonnie Plaxico: bass, acoustic bass; Jim Keltner: drums; Reginald Veal: upright bass; Calvin "Fuzz" Jones: upright bass; Cyro Baptista: percussion; T Bone Burnett: guitar, vocals; Charles Burnham: violin; Lance Carter: drums; Keith Ciancia: piano, keyboards; Jeff Haynes: percussion; Brandon Ross: acoustic guitar, guitar, steel guitar; Marvin Sewell: acoustic guitar; Kevin Breit: banjo, bouzouki, guitar, mandolin, electric guitar, guitar (resonator); Cecilia Smith: marimbas; Perry Wilson: drums; Mark Peterson: bass, acoustic bass; Doug Wamble: acoustic guitar; Fabrizio Sotti: guitar; Xavyon Jamison:drums; Kevin Johnson: percussion.

One of the eminent jazz singers of this time, Cassandra Wilson's deep timbre is as unmistakable as it is alluring. Her acumen as a musician, her voice an exquisite instrument and the way she interprets and arranges songs—uniquely filled with soul and emotion—would set her in the upper echelon of singers regardless of genre. From roots in Mississippi, where she began playing music at the age of five to her involvement in the advanced music theories of M-Base with saxophonist Steve Coleman and a growing body of diverse work, she continues to press onward. Following her second Grammy-winning release, Loverly (Blue Note, 2008), a celebrated program of jazz standards, Wilson presents Closer To You: The Pop Side, a compilation of pop songs culled from previous Blue Note recordings. She makes the trans-American Songbook shine even brighter with contemporary favorites that include works from U2, Sting, Cyndi Lauper, Van Morrison, Glenn Campell, and even The Monkees. The collection epitomizes Wilson's idiosyncratic style: elegant, sexy, mysterious, and well-informed of the intricacies of music, song, and lyrics. Her imprint is heard on a western scatting version of the Monkee's "Last Train to Clarksville," and some delta blues on "The Weight"—that ever rocking 1968 hit by The Band.

Once called the "reluctant diva," this set shows Wilson's altruistic nature, which has placed her among superb artists, such as Terri Lyne Carrington, Marvin Sewell, Cyro Baptista, and producer T-Bone Burnett, who are integral collaborators and not just background fillers for the vocalist. Together they take these popular songs into unusual locations that are earthy, visceral and filled with artistic liberties. Highlights abound. A lovely version of Cyndi Lauper's 1980's smash "Time After Time," some Brazilian flair on Sting's ever thoughtful "Fragile" and a gorgeous redo of Van Morrison's "Tupelo Honey," where Wilson's soulful intonations are sublime. Neil Young's "Harvest Moon" is mesmeric with its canopy of acoustic guitar and the sounds of birds/insects likened to a warm summer's night, as the vocalist soothingly croons. The set closes with Glenn Campbell's popular "Wichita Lineman," proving that whether the song is jazz, rock, or country, no one can deliver it quite like Cassandra Wilson. ~Mark F. Turner

Closer To You: The Pop Side

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Bucky Pizzarelli, John Pizzarelli - Contrasts

Bitrate: MP3@320K/s
Time: 62:48
Size: 143.8 MB
Styles: Standards, Guitar jazz
Year: 1999
Art: Front

[3:53] 1. Three Little Words
[2:57] 2. Coquette
[6:54] 3. Jersey Bounce
[2:27] 4. The Bad And The Beautiful
[2:38] 5. The Minute Samba
[6:01] 6. Contrasts
[2:38] 7. Test Pilot
[4:30] 8. I Hadn't Anyone Till You/The Very Thought Of You
[5:37] 9. The Devil And The Deep Blue Sea
[6:38] 10. Two Funky People
[2:45] 11. Stage Fright
[4:50] 12. Phantasmagoria
[1:50] 13. My Romance
[4:38] 14. Emily
[2:14] 15. Guess I'll Go Back Home This Summer
[2:09] 16. For Whom The Bell Tolls

Father and son duos are relatively rare in jazz but there's no generation gap apparent between Bucky and John Pizzarelli. The two have made a number of strong LPs and CDs together (and individually as well), although it is tough to lavish sufficient praise on this duo-guitar date, played primarily on seven-string electric guitars. Each man adapts equally well, whether in the lead, providing rhythmic support for the other, or matching his partner's lyricism while playing the head of a song. An invigorating "Three Little Words" introduces the two masterful guitarists with a flourish, followed by a lightly swinging take of "Jersey Bounce," the bluesy "Two Funky People," and the strutting acoustic duet "Test Pilot." Bucky is featured on two unaccompanied miniatures, "My Romance" and the rarely heard "For Whom the Bell Tolls." Very highly recommended. ~Ken Dryden

Contrasts

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Various - Cuban Music: 20 Essential Songs

Bitrate: MP3@320K/s
Time: 61:43
Size: 141.3 MB
Styles: Cuban jazz/pop
Year: 2012
Art: Front

[3:08] 1. Erenesto Lecuona - La Paloma
[2:42] 2. Xabier Cugat - Siboney
[3:12] 3. Antonio Machín - Toda Una Vida
[2:45] 4. Trova Salsera - Corazón De Melón
[2:47] 5. Bebo Valdés - Bilongo, La Negra Tomasa
[2:36] 6. Celia Cruz - Burundanga
[3:25] 7. Los Romanticos - Tres Palabras
[4:26] 8. Conjunto Casino De La Habana - Me Lo Dijo Adela
[2:28] 9. Ernesto Lecuona - Ay Mama Inés
[2:53] 10. Antonio Machín - Dos Gardenias
[3:55] 11. Román San Martín - Tu Me Acostumbrastes
[2:42] 12. Bobby Capo - Piel Canela
[3:27] 13. Hermanos Rigual - Cuando Calienta El Sol
[3:13] 14. Tito Rodriguez - Inolvidable
[3:16] 15. Elena Burke - Capullito De Alelí
[2:41] 16. Celia Cruz - Nostalgia Habanera
[2:42] 17. Bola De Nieve - Ya No Me Quieres
[3:23] 18. Orquesta Casino - Quiéreme Mucho
[3:21] 19. Benny Moré - Batanga #2
[2:32] 20. Ernesto Lecuona - Rumba Colorá

Elements of Latin music can be heard in some of the earliest jazz, a tendency Jelly Roll Morton referred to as the “Spanish Tinge.” Music Director and bassist Carlos Henriquez and the Jazz at Lincoln Center Orchestra explore the phenomenon of Latin jazz, through the paradigm of Afro-Cuban forefather Machito and "Mambo King" Tito Puente along with special guests vocalists Cita Rodriguez and Marco Bermudez, trumpeter Pete Nater, and percussionists George Delgado, Jose Madera, and Johnny Rodriguez Jr., many of whom performed with Machito and Puente. Machito was one of the first to introduce Afro-Cuban jazz as one of the earliest hybridizations of the two genres and, in doing so, created a lane for a plethora of Latin styles like mambo, son, guaracha, and guajira to further diversify the music.

Cuban Music: 20 Essential Songs

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Shannon Butcher - Words We Both Could Say

Bitrate: MP3@320K/s
Time: 41:47
Size: 95.6 MB
Styles: Vocal jazz
Year: 2008
Art: Front

[3:31] 1. Mad World
[4:02] 2. Wichita Lineman
[3:01] 3. Here, There & Everywhere
[3:54] 4. It Might As Well Be Spring
[5:42] 5. Call Me
[2:31] 6. Just A Girl
[6:07] 7. Don't Talk (Put Your Head On My Shoulder)
[4:00] 8. Slow Hot Wind
[5:36] 9. Strange & Beautiful
[3:18] 10. Walking After Midnight

Bass - Ross MacIntyre; Drums - Mark McLean; Guitar - Rob Pilch; Percussion - Daniel Stone; Piano, Electric Piano [Rhodes] - Michael Shand; Saxophone - Kelly Jefferson; Trumpet - William Sperandei.

Shannon Butcher is quickly becoming a favourite on the Canadian jazz scene for her dynamic voice and fresh spirit. "Jazz isn’t about one label or style; it’s not about one person or time," says Butcher. "It’s about the freedom to bring together all of your experiences; sing in the moment and connect with your audience." Shannon's debut CD, Words We Both Could Say, is a fusion of styles and an open door invitation to transcend expectations. Through her unique jazz transformations of “standards” from artists including the Beatles, Patsy Cline and No Doubt, the Toronto artist has connected with jazz aficionados and new listeners alike. Since its release, Words We Both Could Say has reached the 2 spot on the Canadian Campus Jazz chart and broke through the Top Ten of iTunes Top Jazz Albums. Thanks to her Internet presence Shannon has become a hit on jazz stations in Australia, the United Kingdom and the United States.

Words We Both Could Say

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Kenny Dorham - Jazz Contrasts

Bitrate: MP3@320K/s
Time: 40:44
Size: 93.3 MB
Styles: Trumpet jazz
Year: 1957/2007
Art: Front

[ 9:09] 1. Falling In Love With Love
[12:03] 2. I'll Remember April
[ 4:26] 3. Larue
[ 5:22] 4. My Old Flame
[ 2:41] 5. But Beautiful
[ 7:01] 6. La Villa

Kenny Dorham: trumpet; Sonny Rollins: tenor saxophone; Hank Jones: piano; Oscar Pettiford: bass; Max Roach: drums; Betty Glamman: harp.

In the last half of the 1950s Max Roach practically redefined the meaning and uses of the fast tempo, generating such a head of steam that, in the beginning, bass players settled for the first and third beat of each measure and horn players soared in half-time over the drummer's intimidating, torrential time streams. Not Kenny Dorham. On the opening, medium-up-tempo of "Falling in Love," he even double-times his solo. On Dorham's own "La Villa," Roach supplies the break-speed tempo and the trumpeter lets the notes fly without allowing so much as a single one to get away from his thought process or execution. He's with Roach on every subdivision of the already kamikaze pulse, the performance possibly Dorham's most technically accomplished solo on record; moreover, it brings Sonny Rollins, who starts slowly on the session, up to speed.

Admittedly, the Dorham/Rollins pairing is more satisfying overall on Roach's Jazz in 3/4 Time (EmArcy, 1957). The inclusion of "I Remember April" on the present date practically invites listeners new to Dorham to compare him immediately with Clifford Brown who, on his last recording and only date with Rollins, had submitted a memorable performance of the same song [At Basin Street (EmArcy, 1956)]. But such comparisons can be as deceptive as they are edifying. "Brownie" was a passionate Romantic, his brilliant, brassy tone full of daring, emotion and near- theatrical splendor. "K. D."'s temperament was more Schubert than Verdi, more scaled to chamber music than grand opera. His is an equally compelling voice, but one that requires an adjustment on the listener's part to be able to absorb all of its subtle intricacies. In some respects, the tenor player on most of the Brown-Roach recordings, Harold Land, would have been the ideal complement to Dorham's smallish sound and letter-perfect execution.

The "contrasts" of the title are apparently in reference to the three ballads, which employ a flowery harp. Among them, "My Old Flame features thoughtful, lyrical turns by Dorham both before and after Rollins' solo. To present-day listeners, Oscar Pettiford's bass will sound under-recorded, but both he and pianist Hank Jones maintain unflappable composure and provide unfailing support in the face of the leader's and drummer's flame-setting pace. ~Samuel Chell

Jazz Contrasts

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Rick Braun - Kisses In The Rain

Styles: Trumpet And Flugelhorn Jazz
Year: 2001
File: MP3@320K/s
Time: 43:28
Size: 100,1 MB
Art: Front

(3:51)  1. Car Wash 2000
(4:33)  2. Kisses In The Rain
(3:44)  3. Use Me
(4:40)  4. Grover's Groove
(4:29)  5. Your World
(4:45)  6. Middle Of The Night
(4:30)  7. One For The Girls
(4:26)  8. Song For You
(4:37)  9. Simplicity
(3:49) 10. Emma's Song

Rick Braun is in high demand these days, both as a trumpeter and a producer he certainly has his thumb on the pulse of today's adult contemporary music. His solo debut on Warner Brother, hot on the heels of last year's successful collaboration with Boney James on Shake It Up, should further extend his mastery of the idiom. The first four tunes are the most jazz-oriented and satisfying; they come complete with catchy melodies, infectious live rhythms, and thoughtful arrangements clean but not overly glossy. Braun alternates between open and muted trumpet, and turns in solos that are a bit more adventurous than you might expect from a commercially-oriented album. About half-way through, the program turns more to the programmed background tracks and moves more into the "romantic evening" groove. To my ears, the sweet-soul vocals ("Your World" and "Song for You") seem a bit formulaic and lower the bar on creativity a couple notches. 

"Middle of the Night" is sort of "Chuck Mangione meets the click track." There are tasty touches here and there, such as a nice tenor solo and interesting background brass parts on "Simplicity," and Braun's expressive balladry on the closer, "Emma." Overall, this is an enjoyable and well-executed program of contemporary work by one of the genre's leading proponents. ~ Dave Hughes https://www.allaboutjazz.com/kisses-in-the-rain-rick-braun-warner-bros-review-by-dave-hughes.php

Personnel: Rick Braun (trumpet, flugelhorn, piano, keyboards, programming); Sue Ann Carwell (vocals, background vocals); Mindy Stein, Shai (vocals); Peter White (guitar, acoustic guitar); Tony Maiden (guitar, electric guitar, wah-wah guitar); Fred Clark , Norman Brown , Ross Bolton (guitar); Larry Williams (strings, tenor saxophone, keyboards); Doug Norwine (flute, saxophone); Euge Groove, Steve Grove (tenor saxophone); Marty Grebb (baritone saxophone); Jerry Hey (flugelhorn); Nick Lane, William Frank "Bill" Reichenbach Jr. (trombone); Al Forman, Mitchel Forman (piano); Ricky Peterson (Wurlitzer organ, keyboards); David Woods (keyboards, drum programming); Johnny Britt, Roberto Vally (keyboards); Harvey Mason, Sr. , Lil John Roberts (drums, percussion); Luis Conte, Paulinho Da Costa (percussion); Paul Brown (programming); Yvonne Williams (background vocals).

Kisses In The Rain

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Nnenna Freelon - Maiden Voyage

Styles: Vocal Jazz
Year: 1998
File: MP3@320K/s
Time: 66:31
Size: 152,5 MB
Art: Front

(5:24)  1. Come Into My Life
(4:55)  2. Four Women
(8:28)  3. Maiden Voyage
(5:32)  4. Buy And Sell
(4:46)  5. Future News Blues
(6:00)  6. Until It's Time For You To Go
(8:06)  7. Women Be Wise
(5:43)  8. Sepia Wing
(4:07)  9. Pick Yourself Up
(4:34) 10. I Won't Dance
(4:31) 11. Inside A Silent Tear
(4:21) 12. Sing Me Down

No matter how impressive the voice, no matter how well oiled the pipes and Lord knows Nnenna Freelon is abundantly blessed in both respects he or she simply cannot rise far above the material. Although Freelon makes a gallant effort on Maiden Voyage, the ship barely gets out of drydock, overladen with forgettable lyrics and lashed to its moorings by mundane melodies. Too harsh? Perhaps. But if I were going to open a set with eight sleep inducing originals, as Freelon has done, I wouldn’t remind the listener of their relative lack of substance by following them with “Pick Yourself Up” and “I Won’t Dance,” enduring classics from the golden age of Tin Pan Alley (with memorable words by the clever tunesmith Dorothy Field). In fact, the session doesn’t take wing until Freelon introduces those treasures and closes with Blossom Dearie’s pensive ballad, “Inside a Silent Tear” (lyrics by Linda Albert), and her own “Sing Me Down“ (actually her lyrics set to a folk song whose name, I believe, is “Turn Around”). The melodies and lyrics that precede them really are lightweight; while Herbie Hancock’s “Maiden Voyage” and Marian McPartland’s “Threnody” (here renamed “Sepia Wing” to mirror Freelon’s lyrics) are splendid as instrumentals, appending lyrics does nothing to enhance their appeal. Among the others, only Freelon’s “Future News Blues” held this listener’s ear for more than a moment. While I am hardly conversant with the works of Nina Simone, Laura Nyro and Buffy Sainte Marie, surely their reputations weren’t built on the sort of uninspired material that is presented here. On a brighter note, if one would like to sing along, lyrics to each song (not always unerring) are provided in the accompanying booklet. As for Freelon, she sings beautifully which, for the most part, is rather like adding a delectable frosting to cow chips. ~ Jack Bowers https://www.allaboutjazz.com/maiden-voyage-nnenna-freelon-concord-music-group-review-by-jack-bowers.php
 

Personnel:  Nnenna Freelon, vocals; Michael Abene, piano, arranger; Joe Beck, guitar; Avishai Cohen, bass; Sammy Figueroa, percussion; Danny Gottlieb, drums; Herbie Hancock, piano

Maiden Voyage

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Peter Zak - Blues On the Corner

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 56:08
Size: 129,3 MB
Art: Front

(7:57)  1. Blues On the Corner
(4:53)  2. Three Flowers
(8:20)  3. The Man from Tanganyika
(4:36)  4. Sunset
(4:38)  5. May Street
(6:37)  6. Ballad for Aisha
(5:28)  7. The Camel
(5:23)  8. All My Yesterdays
(8:11)  9. Peresina

McCoy Tyner has justifiably been heralded as one of the most important jazz pianists of the past 50 years, both for his seminal work with the classic John Coltrane Quartet in the 1960s and for the four decades of consistently exhilarating work as a leader that followed. But while his heavily percussive style, unique chord voicings and the sheer emotional force of his playing have influenced countless followers, he has seldom been appreciated for his contributions as a composer. That's beginning to change a bit, however, with the SF Jazz Collective's 2009 Tyner tribute and New York pianist Peter Zak 's Blues on the Corner: The Music of McCoy Tyner.  Zak is a top-flight modern mainstream player who appears regularly with respected artists like Ryan Kisor, Walt Weiskopf and Jim Snidero. He is wise enough not to try to mimic the raw power of Tyner's style; he has a more lyrical and restrained, but still hard swinging, approach. But Zak and his impressive working trio (Paul Gill on bass and Quincy Davis on drums) capture the spirit of Tyner's music on eight tunes drawn from throughout his long career. The diversity and energy of the selections, ranging from old-school bebop to searing, avant-leaning explorations to unabashedly beautiful ballads give testament to Tyner's breadth as a composer.

Highlights include the bouncy blues of the title track, Zak's whirlwind post-bop playing on the explosive "May Street," the bowing prowess of Gill on "Three Flowers" and the sense of playfulness the entire trio brings to the lively "Man from Tanganyika." The lovely, expressive ballad, "All My Yesterdays," given a thoughtful treatment here, should serve as an antidote to those who still view Tyner simply as Coltrane's fiery foil. The lone Zak original, "The Camel," is an edgy, forward-looking number that fits in well with the overall Tyner theme. Peter Zak and his trio have made a fine album that shines new light on a too-often neglected aspect of McCoy Tyner's legacy. ~ Joel Roberts https://www.allaboutjazz.com/blues-on-the-corner-the-music-of-mccoy-tyner-peter-zak-steeplechase-records-review-by-joel-roberts.php
 

Personnel: Peter Zak: piano; Paul Gill: bass; Quincy Davis: drums.

Blues On the Corner

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Mark Soskin Quartet - Live At Smalls

Styles: Piano Jazz 
Year: 2015
File: MP3@320K/s
Time: 62:22
Size: 144,3 MB
Art: Front

(8:16)  1. Think Of One
(7:04)  2. Sometime Ago
(5:56)  3. Lonely Town
(9:35)  4. Crazy She Calls Me
(9:31)  5. Miyako
(8:24)  6. Cal Massey
(6:42)  7. Blackberry Winter
(6:50)  8. In A Silent Way

Mark Soskin was born July 12, 1953 in Brooklyn, N.Y. Soskin has recorded and performed with such diverse musicians as Sonny Rollins, Joe Henderson, Randy Brecker, Billy Cobham, Buster Williams, Eddie Henderson, Stanley Turrentine, Cornell Dupree, Herbie Mann, John Abercrombie, Claudio Roditi, Sheila Jordan, Gato Barbieri, Joe Locke, David"Fathead"Newman, Mark Murphy, Slide Hampton, Pete and Sheila Escovedo, Bobby Watson, Miroslav Vitous, The NY Voices and others. Soskin attended Colorado State University where he pursued classical studies, but at this time his interests in jazz music were growing. In 1973 he enrolled in The Berklee College of Music, studying composition as well as arranging. In Boston he began to work professionally until moving to San Francisco, eventually going on to work with some of the west coast's finest players.  Shortly after arriving in San Francisco, Soskin was introduced to the Latin music legend, Pete Escovedo. Along with Pete's daughter, percussionist Sheila. E, they toured and recorded as Azteca, a group in which Soskin's keyboard, writing, and arranging talents were showcased. Eventually, the group, which now included Tom Harrell on trumpet, went on to record two discs for Fantasy Records, produced by drum ace Billy Cobham. Soskin was enlisted in Cobham's band, a stint that lasted for two years and which produced two recordings for Columbia. Between tours for Cobham, Soskin did a tour and live recording for the CBS All Stars with Tom Scott, Alphonso Johnson, Steve Khan, and Billy Cobham. At this time Soskin was very active as a session player at Fantasy studios in Berkeley, California and veteran jazz music producer Orrin Keepnews took notice. Soskin signed his first recording contract with Prestige (a subsidiary of Fantasy) produced by Keepnews, entitled "Rhythm Vision." This featured the likes of Benny Maupin and Harvey Mason with the album eventually making it into Billboard's top ten Jazz Chart. Keepnews introduced Soskin to Sonny Rollins, which started a long, fruitful collaboration (14 years). Besides the extensive touring throughout the world, Soskin can be heard on a number of critically acclaimed recordings with the tenor sax master, including a video,"Saxophone Collosus”. 

Since 1981 Soskin has resided in New York City, remaining active as sideman and as a leader. He has ten of his own recordings to date and three as co-leader, one which features Harvie Swartz and Joe LaBarbera with Sheila Jordan called "Spirits", one under the name "Contempo Trio" with Danny Gottlieb and Chip Jackson featuring Ravi Coltrane and another Contempo Trio recording named"The Secret of Life" featuring Carolyn Leonhart. His recording, "17" on TCB, highlights Soskin in a quintet setting featuring mainly original compositions.  He continues to maintain a busy tour schedule as well as giving master classes and workshops. Television performance credits include the HBO hit series, "Sex And The City." Examples of arranging projects have been writing for Slide Hampton's "World Of Trombones" and his writing and playing on Steve Smith's DVD,"Drumset Technique/History of the U.S. Beat". Soskin has been featured in solo piano concerts throughout the world such as the Ottawa Jazz Festival. He has performed the premier of contemporary classical music composer John Adams' opera, "Ceiling/Sky" at Lincoln Center. Soskin is currently on the faculty of The Manhattan School Of Music and has been written up in numerous music publications, including Ira Gitler and Leonard Feather's Biographical Encyclopedia of Jazz and The Jazz Book by Joachim E. Berendt. Mark Soskin is featured in the film documenting latin jazz artists entitled "Calle 54”.  He signed with the Kind of Blue label and produced three recordings for the company, all critically acclaimed. The first is entitled,“One Hopeful Day ”, which features Chris Potter, Bill Stewart and Jay Anderson.  The second released in October 2009 is “Man Behind the Curtain” with Ravi Coltrane, Bill Stewart and Jay Anderson. The third,released in 2012, is “Mark Soskin Solo Piano- The Music of Nino Rota”. His newest recording is “ Live at Small’s, Mark Soskin Quartett(2015)”, featuring Rich Perry, Jay Anderson and Anthony Pinciotti.  Mark Soskin teaches privately and is available for master classes and workshops.http://www.marksoskin.com/bio.html

Personnel:  Mark Soskin-piano;  Jay Anderson-bass;  Rich Perry-tenor sax;  Anthony Pinciotti-drums

Live At Smalls

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Gene Ammons - My Way

Styles: Saxophone Jazz
Year: 1971
File: MP3@320K/s
Time: 28:18
Size: 65,4 MB
Art: Front

(3:33)  1. Chicago Breakdown
(4:18)  2. What's Going On
(3:45)  3. A House Is Not A Home
(6:21)  4. Sack Full of Dreams
(4:18)  5. Back in Mérida
(6:01)  6. My Way

Although late in the Prestige jazz funk years, and not in the small combo mode of some of Ammons' best early 70s sides, this is still an excellent batch of tracks thanks to hip arrangements from Bill (William S?) Fisher! The format's almost in a Kudu/CTI mode, as larger arrangements envelope Jug's soulful tenor funking away with a blacksploitation on tracks like "Chicago Breakdown", "Back In Merida", and a great cover of "What's Going On", all done with tight horns, compressed guitar, and even a bit of strings. There's a few mellower numbers that aren't as great but these tracks more than make the album worth having! © 1996-2017, Dusty Groove, Inc.https://www.dustygroove.com/item/40417?s=Gene+Ammons&incl_oos=1&incl_cs=1&kwfilter=Gene+Ammons&sort_order=artist
 

Personnel:  Gene Ammons - tenor saxophone;  Robert Prado, Ernie Royal - trumpet (tracks 1, 2 & 4-6);  Garnett Brown - trombone (tracks 1, 2 & 4-6);  Richard Landry - tenor saxophone (tracks 1, 2 & 4-6);  Babe Clark - baritone saxophone (tracks 1, 2 & 4-6);  Roland Hanna - electric piano (tracks 1-3); Billy Butler (tracks 4-6), Ted Dunbar (tracks 1 & 2) – guitar;  Ron Carter - bass (tracks 4-6);  Chuck Rainey - electric bass (tracks 1 & 2);  Idris Muhammad - drums (tracks 1, 2 & 4-6);  Omar Clay - percussion (tracks 1, 2, 4 & 5);  Yvonne Fletcher, Patricia Hall, Loretta Ritter, Linda Wolfe - vocals (tracks 2 & 4)

My Way

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