Peter Zak - Down East

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 60:35
Size: 140,4 MB
Art: Front

(5:12)  1. Is That So ?
(3:56)  2. Who Cares
(5:41)  3. Sector 7 1 FS
(4:46)  4. Gallops Gallop
(5:10)  5. I Didn't Know About You
(4:31)  6. Tiny Capers
(8:03)  7. Dreamsville
(5:32)  8. Invisible
(6:16)  9. Love Thy Neighbor
(5:33) 10. He Said / She Said
(5:51) 11. Down East

Pianist Peter Zak and his superb trio went into the studio to swing on Down East, and swing they did. Opening with Duke Pearson's "Is That So?," Zak displays a light touch and a sparkle and shine not unlike that of Red Garland or Oscar Peterson, with ubiquitous bassist Peter Washington and drummer Rodney Green locking the rhythm into a tight foundational groove for Zak's bright ebullience. On a set of well-chosen standards mixed with lesser-known gems, and with the bass and drums more in a supportive than interactive mode, Zak's beautiful way with a melody comes to the forefront. George Gershwin's "Who Cares" showcases the trio's ability to let a ballad unfold via Zak's exquisitely refined touch, and the leader's up-tempo original, "Sector 7," has a prickly, modern feeling. Given the Pearson and Gershwin opening salvo, a very traditional, mainstream outing in the mode of pianist Bill Evans could be expected, but song choice heads toward the unexpected with Thelonious Monk's "Gallop's Gallop." It is not one of the legendary pianist's better-known tunes it didn't appear on a Monk album until the release of the 1964-recorded Live at the It Club (Sony Music, 1982). Zak smooths out some of the edges and refreshes the harmony while maintaining the humor and the characteristic Monk quirkiness of the tune. Zak has been describes as a bebop and beyond stylist. He delivers straight bebop with a reverent take on trumpeter Clifford Brown's bouncy "Tiny Capers," giving bassist Washington a chance to step out for a melodious solo. The trio goes "beyond" on Henry Mancini's "Dreamsville," perhaps the loveliest eight minutes of the set, leading into the frenetically high octane "Invisible," from the songbook of alto saxophonist/free jazz pioneer Ornette Coleman. The set then moves into a couple of Zak originals: the gorgeous, smooth-flowing bossa nova, "He Said/She Said," then closes out with engaging and light-stepping title cut, for a perfect ending to rising star Peter Zak's top notch trio effort. ~ Dan McClenaghan https://www.allaboutjazz.com/down-east-peter-zak-steeplechase-records-review-by-dan-mcclenaghan.php
 

Personnel: Peter Zak: piano; Peter Washington: bass; Rodney Green: drums.

Down East

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Gene Ammons - Got My Own

Styles: Saxophone Jazz

Year: 1973

File: MP3@320K/s

Time: 37:06

Size: 85,9 MB

Art: Front

(5:23)  1. Lady Sings The Blues

(4:02)  2. God Bless The Child

(3:34)  3. Strange Fruit

(4:56)  4. Fine And Mellow

(5:59)  5. Play Me

(5:29)  6. Ben

(7:40)  7. Tin Shack Out Back

A more laidback set than usual from Ammons' early 70s stretch on Prestige but a record that nicely gets back to that big-toned tenor sound he used often on ballads from earlier years! The combo mixes both electric piano and organ the former from Hank Jones, the latter from Ernie Hayes and drums are mostly by Idris Muhammad, but in a style that's a bit more roundly open and soul-based than some of his funkier jams. But there's still a nice groove to many numbers a gentler one, with a sly undercurrent of soul  even on a few that feature fuller strings arranged by Ed Bogas. Titles include "God Bless The Child", "Strange Fruit", "Fine & Mellow", "Lady Sings The Blues", "Play Me", "Tin Shack Out Back", and "Ben". (Cover & labels have initials in marker. Cover has a cut corner.) © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/29632

Personnel:  Saxophone – Gene Ammons;  Bass – Ron Carter;  Drums – Billy Cobham , Idris Muhammad , Mickey Roker; Electric Piano – Hank Jones , Sonny Philips;  Guitar – Joe Beck , Maynard Parker.

Got My Own

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Gary Bias - 2 B Free

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 62:33
Size: 143,4 MB
Art: Front

(5:22)  1. The Rump
(5:07)  2. Never Let Go
(4:27)  3. Easy
(6:03)  4. 2 B Free
(6:05)  5. Make It Right
(5:18)  6. Lady
(5:01)  7. Where's The Love
(4:25)  8. Damage
(5:02)  9. Quiet Passion
(5:33) 10. If The Mood Is Right
(4:42) 11. Precious Love
(5:23) 12. The Rump

Grammy award winning sax guru Gary Bias serenades oh so sweetly on his debut CD, 2 b free, on his own Thunderbop Records. His seemless blend of smooth jazz shimmers with melodies that glide over us, magicaly transporting us over serene horizons. After years of lending his soothing serenades to artists like Stevie Wonder, Quincy Jones and Whitney Houston, this veteran sax man is stepping to the forefront, with a solo sound that simply stated, sends shivers down the spine. A native of South Central Los Angeles, Bias began playing the saxophone at the age of eleven. Early on, his musical peers included Gerald Albright, (they met in the seventh grade), along with Patrice Rushen, Ndugu Chancler and trumpeter Ray Brown, all high school pals. while pursuing his music degree at California state University, Los Angeles, Bias was hired to tour with the Quincy Jones Orchestra. After college he joined the famous Latin jazz artist, Willie Bobo, and then went on tour with the Duke Ellington Orchestra. He was only 23 at the time. A highlight in Bias' career occurred when he co-authored the song "Sweet Love" with Anita Baker in 1985. The tune garnered him a Grammy Award for R&B song of the year. 

By 1987, there was no stopping him as he joined the legendary Earth, Wind and Fire band! Bias has since toured with James Ingram, Randy Crawford and Whitney Houston, to name a few, and is currently back on the road with EWF. With 2 b free, Bias showcases the skills that have made him one of the industry's most sought after wind players.The CD's opening track, "The Rump" is warm and inviting. As Bias chants hypnotically over a seductive sax groove, "When a jazzman plays his horn, All his troubles go away," we feel oursmelt away as well. 2 b free, the title track, picks up the pace with a brezzyflow while his cover of D'Angelo's "Lady" rings with quiet familiarity. On "Damage", Bias croons again, as his voice and instrument combined make for real musical therapy. Gary's "Quiet Passion" is just that, while his "Precious Love" is a titillating jazz ballad. 2 b free is a wonderful escape to a place where there is no stress. The serenade is soulful, sweet and sincere. When this jazzman plays his horn, it is our troubles that go away. Gary Bias' wish is for us all "2 b free." His music show us the way.

Personnel : Gary Bias (saxophone).

2 B Free

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Steve Lacy - Soprano Sax

Bitrate: MP3@320K/s
Time: 33:38
Size: 77.0 MB
Styles: Bop, Saxophone jazz
Year: 1958/1995
Art: Front

[4:24] 1. Day Dream
[6:45] 2. Alone Together
[5:24] 3. Work
[4:06] 4. Rockin' In Rhythm
[4:32] 5. Little Girl Your Daddy Is Calling You
[8:25] 6. Easy To Love

Bass – Buell Neidlinger; Drums – Dennis Charles; Piano – Wynton Kelly; Soprano Saxophone – Steve Lacy. Recorded in Hackensack, NJ; November 1, 1957.

This was the first of three recordings soprano saxophonist Steve Lacy made for Prestige and this 11/1/57 session was his first as a leader...There was a controlled tension to this date, like everybody's trying to play, carefully, to a common goal. It's almost as if someone were present to make sure everybody stayed within obvious perimeters. ~Bob Rusch

Soprano Sax

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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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