Steve Khan - Backlog

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 70:21
Size: 162,0 MB
Art: Front

(5:46)  1. Criss Cross (Entrecruzado)
(5:40)  2. Concepticus in C
(8:07)  3. Latin Genetics (Genética Latina)
(7:12)  4. Our Town (Nuestro Pueblo)
(5:57)  5. Head Start (Ventaja)
(6:42)  6. Rojo
(8:27)  7. Invisible
(6:03)  8. Emily
,(7:56)  9. Go Home (Vete a Casa)
(8:28) 10. Catta

In what could best be described as an enduring exploration, Steve Khan has undertaken the role of expanding and redefining the role of the guitar in the hybrid genre of Latin Jazz. Backlog continues with the concept established as far back as 2005 on The Green Field (Tone Center), in the transformation of straight-ahead jazz compositions into unique Khan improvisations drawing deeply from the Afro-Cuban tradition. The percussion duo of Marc Quiñones and Bobby Allende have been an essential part of his sound since 2007, and bassist Ruben Rodriguez complements the ensemble with a solid tumbao foundation. Drummer Mark Walker rounds out the rhythm section, a dynamic propulsion machine which allows Khan to perform his magic. The defining clave opens Thelonious Monk's "Criss Cross," Rodriguez's baby bass establishing the band's melodic direction, Khan weaving his phrases around the percussive layers. "Concepticus In C," by Greg Osby, is reworked in a classic cha-cha-cha mode and demonstrates Khan's affinity for Caribbean dance music. As is customary in Khan's recordings, Ornette Coleman is a major influence and contributor, and his "Latin Genetics" is given a Puerto Rican plena treatment, featuring Randy Brecker on trumpet, playing with a genuine street carnival approach.

It's no secret that the prolific composer Sammy Cahn was Khan's father, and "Our Town," is a personal tribute, complete with lush orchestration courtesy of Rob Mounsey, who does a commendable job on the keyboards. Vibraphonist Bobby Hutcherson was another musician who delved into the Afro-Cuban rhythms, and Khan covers him on two tunes, "Head Start," with Mike Mainieri on vibes, and "Rojo," where Khan switches to a steel-string acoustic for a more relaxed montuno voicing. Coleman is revisited again on "Invisible," bringing Bob Mintzer in on tenor sax to lay out an esoteric blues, against the exotic backdrop. Khan melodically depicts a floating sensation in "Emily," with the understated rhythm serving as a buoyant cloud for his musings. The ancestral Oriza rhythms are utilized on "Go Home," plucked from Stevie Wonder's 1985 release In Square Circle. The song is driven by Quiñones' deft work with the intricate double bell pattern, and Khan goes into soul/funk territory with high energy and volume. The Brazilian tinge, courtesy of vocalist Tatiana Parra, appears on the remake of "Catta," by Andrew Hill. This song closes the set with the unmistakable sense of romance which is so dominant in Latin music, though sometimes forgotten by the dominant rhythmic undulation. With Backlog, Khan rounds out the mesmerizing trilogy encompassing Parting Shot (2011) and Subtext (2014), which were recorded under the pressure of a mysterious medical affliction. Khan's music continues to evolve and his quest to take the guitar into an uncharted trajectory has bestowed him with a singular style. No one plays or sounds like Steve Khan, his clever interpretations of jazz compositions shaken up with Afro-Caribbean rhythms are always on the cusp. He is an inquisitive jazz musician, mastering the evasive art of reinvention and improvisation on his own terms, in his own time. ~ James Nadal https://www.allaboutjazz.com/backlog-steve-khan-esc-records-review-by-james-nadal.php
 

Personnel: Steve Khan: guitar; Rubén Rodriguez: baby bass, electric bass; Mark Walker: drums; Marx Quiñones: timbales, bongo, percussion; Bobby Allende: conga, bongo; Randy Brecker: trumpet (3); Bob Mintzer: tenor sax (7); Mike Mainieri: vibes (5); Rob Mounsey: keyboards (2, 6, 7, 9) orchestrations; Tatiana Parra: voice (10).

Backlog

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Manhattan Jazz Quintet - Manhattan Jazz Quintet

Styles: Jazz, Big Band
Year: 1984
File: MP3@320K/s
Time: 40:07
Size: 92,2 MB
Art: Front

(8:59)  1. Summertime
(3:11)  2. Rosario
(8:26)  3. Milestones
(9:22)  4. My Favorite Things
(5:43)  5. Airegin
(4:25)  6. Summer Waltz

The Manhattan Jazz Quintet are an unusual group in that they very rarely perform as a unit in the United States (much less Manhattan) but have been a major hit in Japan, both for their recordings and occasional tours. Originally comprised of leader/pianist David Matthews, trumpeter Lew Soloff, tenor saxophonist George Young, bassist Eddie Gomez, and drummer Steve Gadd, the band (which emphasizes straight-ahead hard bop swinging) first came together in 1983 at the suggestion of the King label and the top Japanese jazz magazine Swing Journal. To everyone's surprise, its first recording (simply called Manhattan Jazz Quintet) became such a big seller that it was awarded Swing Journal's annual 1984 Gold Disk Award as the number one album in Japan. Several years later the group broke up when Gomez and Gadd needed more time to pursue their individual projects and all of the quintet members later became quite successful in their own careers but this edition of the MJQ recorded reunions in 1990 (which found John Scofield guesting on a few selections) and in 1993. Victor Lewis replaced Gadd that year, and subsequently Young was replaced by Andy Snitzer and Gomez by Charnett Moffett. The Manhattan Jazz Quintet recorded primarily for King in Japan (those dates were mostly made available in the U.S. by Projazz) during the 1980s, although they cut some later recordings among the comparative very few that actually took place in Manhattan!  for the Sweet Basil label. During the new millennium the Manhattan Jazz Quintet have recorded regularly for Video Arts. ~ Scott Yanow http://www.allmusic.com/artist/manhattan-jazz-quintet-mn0000674690/biography

Personnel:  Lew Soloff (trumpet) George Young (tenor sax) David Matthews (piano) Charnett Moffett (bass) Steve Gadd (drums)

Manhattan Jazz Quintet

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Dinah Washington - The Definitive Dinah Washington

Bitrate: MP3@320K/s

Time: 68:09

Size: 156.0 MB

Styles: Jazz Vocals

Year: 2002

Art: Front

[2:52] 1. Evil Gal Blues

[2:52] 2. Embraceable You

[2:35] 3. New Blowtop Blues

[2:29] 4. Love Is Here To Stay

[2:55] 5. Big Long Slidin' Thing

[7:56] 6. A Foggy Day

[3:10] 7. I Don't Hurt Anymore

[2:44] 8. Teach Me Tonight

[5:17] 9. Blue Gardenia

[2:18] 10. My Ideal

[3:56] 11. I'll Close My Eyes

[5:28] 12. All Of Me

[2:26] 13. What A Diff'rence A Day Made

[2:42] 14. Baby (You've Got What It Takes)

[2:42] 15. Unforgettable

[2:25] 16. This Bitter Earth

[3:01] 17. Invitation

[3:28] 18. Drinking Again

[3:31] 19. Me And My Gin

[3:12] 20. For All We Know

This 20-track compilation released as a joint venture by Verve and Blue Note, covers a lot of ground - from 1943 to 1962 but then, so did Dinah Washington. She sang down and dirty blues, lush ballads, romantic standards, sophisticated R&B, swinging jazz, and even country, and this disc gives a taste of each style. Her earliest recordings were rooted in the blues and are represented by 1943's low-down and nasty "Evil Girl Blues," 1951's "New Blowtop Blues," and the filthy and funny "Big Long Slidin' Thing" from 1954. By the mid-'50s Washington had segued into a more sophisticated jazz style. Her version of "Teach Me Tonight" from 1954 featuring Hal Mooney's orchestra is seminal, her recording of "White Gardenia" from 1955 nothing short of heartbreaking. She also did an incredible cover of Hank Snow's country hit "I Don't Hurt Anymore" in 1954. A nice inclusion is a live recording of "All of Me" from the 1958 Newport Jazz Festival that finds Washington commandeering Terry Gibbs' vibraphone and banging out a solo. By time the late '50s rolled around, Washington had begun recording R&B and pop under the guidance of Belford Hendricks. In 1959 he teamed her up with Brook Benton and they had an R&B hit with the sassy "Baby, You've Got What It Takes." Washington had a hit on her own with a silky and very smooth version of "What a Difference a Day Makes" in 1960. She jumped to Roulette in the early '60s and recorded pop songs, three of which are included here. Washington was an unforgettable singer and The Definitive Dinah Washington shows just why that is so. Highly recommended. ~Tim Sendra

The Definitive Dinah Washington   

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Paul Carrack - The Best Of Paul Carrack

Bitrate: MP3@320K/s
Time: 68:15
Size: 156.2 MB
Styles: Pop/Rock/Soul vocals
Year: 2014
Art: Front

[6:14] 1. The Living Years
[3:53] 2. How Long
[4:00] 3. Love Will Keep Us Alive (Feat. Timothy Schmit)
[3:59] 4. Eyes Of Blue
[3:13] 5. Over My Shoulder
[3:59] 6. Tempted
[3:28] 7. Satisfy My Soul
[2:43] 8. Groovin'
[2:47] 9. Walk On By
[3:33] 10. What's Going On
[4:09] 11. I Don't Want Your Love
[2:54] 12. Don't Dream It's Over
[3:27] 13. Moon River
[3:53] 14. Don't Let The Sun Catch You Crying
[2:31] 15. When My Little Girl Is Smiling
[2:54] 16. I'm Losing You
[3:20] 17. Stepping Stone
[3:39] 18. One In A Million
[3:30] 19. Come Rain Or Shine

Paul Melvyn Carrack (born 22 April 1951) is an English singer, songwriter, composer and multi-instrumentalist who has recorded as both a solo artist and as a member of several popular bands. The BBC dubbed Carrack "The Man with the Golden Voice", while Record Collector remarked: "If vocal talent equalled financial success, Paul Carrack would be a bigger name than legends such as Phil Collins or Elton John."

Carrack rose to prominence in the mid-1970s as the frontman and principal songwriter of Ace, and gained further recognition for his work as a solo artist and for his tenures as a member of Roxy Music, Squeeze and Roger Waters' backing band, The Bleeding Heart Band, intermittently handling lead vocals on Squeeze and Waters recordings. From the mid-1980s to the late 1990s, he enjoyed considerable success as the co-frontman (with Paul Young) and a songwriter for Mike + The Mechanics; following Young's death in 2000, Carrack served as the band's sole lead vocalist until his departure in 2004. He maintains an active solo career to the present day.

Carrack sang some of his affiliated bands' best-known hits, including Ace's "How Long?"; Squeeze's "Tempted"; and Mike + The Mechanics' "Silent Running (On Dangerous Ground)", "The Living Years" and "Over My Shoulder". He also performed lead vocals on tracks from the Roger Waters albums Radio K.A.O.S. and The Wall – Live in Berlin, and achieved a major solo hit with "Don't Shed a Tear". Carrack's songs have been recorded by artists such as the Eagles, Diana Ross, Tom Jones, Michael McDonald and Jools Holland, and he has served as a session and/or touring musician for the likes of Elton John, Eric Clapton, Ringo Starr, B.B. King, The Pretenders and The Smiths.

The Best Of Paul Carrack

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Various - Capitol Sings Hollywood

Bitrate: MP3@320K/s
Time: 58:43
Size: 134.4 MB
Styles: Vocal, Easy Listening
Year: 1995
Art: Front

[2:57] 1. Betty Hutton - Stuff Like That There
[2:56] 2. Bob Manning - That Old Feeling
[2:41] 3. Bobby Darin - There's A Rainbow 'round My Shoulder
[1:53] 4. Dakota Staton - On Green Dolphin Street
[2:17] 5. Dean Martin - Louise
[3:01] 6. Ethel Ennis - My Foolish Heart
[3:04] 7. Johnny Mercer - If I Had A Talking Picture Of You
[3:13] 8. Julie London - It Could Happen To You
[2:39] 9. June Christy - They Can't Take That Away From Me
[3:29] 10. June Hutton - My Baby Just Cares For Me
[3:12] 11. Keely Smith - When Your Lover Has Gone
[2:48] 12. Lena Horne - Singin' In The Rain
[2:46] 13. Mark Murphy - Put The Blame On Mame
[3:11] 14. Mel Tormé - Again
[4:02] 15. Nancy Wilson - But Beautiful
[2:54] 16. Nat King Cole - Smile
[3:07] 17. Peggy Lee - Stormy Weather
[4:17] 18. Sue Raney - I Remember You
[2:06] 19. Trudy Richards - You Brought A New Kind Of Love To Me
[2:00] 20. Vic Damone - Stella By Starlight

Capitol Records has one of the most distinctive buildings in Los Angeles and if a movie shows the city begin destroyed by aliens or tornadoes it usually involves the destruction of the round building that bears the company's name. Capitol was founded by songwriter Johnny Mercer in 1942, the first major label on the West Coast competing with New York City's Columbia, Decca and RCA-Victor. Starting with artists like Paul Whiteman and Martha Tilton, by the end of the decade the label was recording Bing Crosby, Peggy Lee, Les Brown, Nat King Cole, and Frank Sinatra. While the works of Crosby and Sinatra are exempt from the Capitol Sings series, you will always find familiar singers singing familiar songs, as with the title track sung by Lena Horne, as often as you hear unfamiliar songs sung by forgotten singers, such as Ethel Ennis singing "My Foolish Heart."

"Captiol Sings Hollywood" is Volume 20 in the series and one brings together twenty tracks representing a particular venue (e.g., Broadway) instead of a specific songwriter (e.g., Irving Berlin). Just be aware that if a song originated in a Broadway show that was made into a Hollywood musical then it is exempt from being included in this collection. That would explain why you may well be unfamiliar with most of these twenty songs. "Singin' in the Rain" and "Stormy Weather" are recognizable classics, and the same should be said for Charlie Chaplin's "Smile," sung here by Nat King Cole in one of the best tracks on the album. and June Christy's swing version of "They Can't Take That Away From Me." But after that you may recognize singers like Dean Martin, Bobby Darin, and Mel Torme more than "Louise," "There's a Rainbow 'Round My Shoulder," and "Again." Still you will find a few new little gems on this album, what with Sarah Vaughn's "I Remember You" and Nancy Murphy's saucy "Put the Blame on Mame." That last is from the movie "Gilda" (I mention this because I was drawing blanks on the vast majority of these tracks as to what movies they were culled from and this one immediately jumped to my mind, as did the fact that Anita Ellis sang it for Rita Haywroth).

Despite the unfamiliar songs this is still an enjoyable album, even if it is a lesser one by the standard of the Capitol Sings series. But if you like one of these albums you will certainly enjoy the rest of them. Final Note: On this album Peggy Lee sings Harold Arlen's "Stormy Weather," but on the "Over the Rainbow: Capitol Sings Harold Arlen" the song is sung by Keely Smith. So even when a song by a particular composer or lyricist shows up on more than one album, you will find different cover versions on each album. Again, this simply reflects how deep the Capitol vault is when it comes to these songs. ~Lawrence Bernabo

Capitol Sings Hollywood

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Junior Mance Trio - Ballads 2006

Bitrate: MP3@320K/s
Time: 60:26
Size: 138.3 MB
Styles: Bop, Soul-jazz
Year: 2006
Art: Front

[5:42] 1. Gee Baby, Ain't I Good To You
[7:02] 2. Single Petal Of A Rose
[6:23] 3. Deep Purple
[7:46] 4. Stella By Starlight
[6:06] 5. When I Fall In Love
[6:47] 6. A Child Is Born
[8:22] 7. Stormy Weather
[5:14] 8. Laura
[7:00] 9. Miss Otis Regrets

Junior Mance is well-known for his soulful bluesy style, but he is also expert at playing bop standards. He started playing professionally when he was ten. Mance worked with Gene Ammons in Chicago during 1947-1949, played with Lester Young (1950), and was with the Ammons-Sonny Stitt group until he was drafted. He was the house pianist at Chicago's Bee Hive (1953-1954), worked as Dinah Washington's accompanist (1954-1955), was in the first Cannonball Adderley Quintet (1956-1957), and then spent two years touring with Dizzy Gillespie (1958-1960). After a few months with the Eddie "Lockjaw" Davis/Johnny Griffin group, Mance formed his own trio and has mostly been a leader ever since. He has led sessions for Verve, Jazzland, Riverside, Capitol, Atlantic, Milestone, Polydor, Inner City, JSP, Nilva, Sackville, and Bee Hive, among other labels. ~bio by Scott Yanow

Ballads 

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Pat Martino - Giants Of Jazz: Pat Martino

Bitrate: MP3@320K/s
Time: 51:54
Size: 118.8 MB
Styles: Guitar jazz
Year: 2004
Art: Front

[5:39] 1. Road Song
[4:31] 2. The Visit
[5:02] 3. We'll Be Together Again
[5:51] 4. Alone Together
[6:11] 5. How Insensitive
[4:34] 6. Impressions
[2:50] 7. Nefertiti
[8:20] 8. Footprints
[6:08] 9. Willow
[2:43] 10. Send In The Clowns

Giants of Jazz: Pat Martino is a nice budget collection of the guitarist's landmark work from the '60s and '70s. Included are such standout tracks as the ballad "We'll Be Together Again," John Coltrane's "Impressions," and the expansive "Willow." While collectors will most likely want the full-length albums, this is a solid introduction to Martino's unique oeuvre. ~Matt Collar

Giants Of Jazz: Pat Martino

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Steve Davis Quintet - Live at Smalls

Styles: Trombone Jazz
Year: 2009
File: MP3@320K/s
Time: 66:34
Size: 152,5 MB
Art: Front

(14:27)  1. Surrey with a Fringe on Top
(15:53)  2. Spirit Waltz
(21:38)  3. Nature Boy / To Wisdom the Prize
(14:34)  4. Daydream / Outro

Steve Davis has been a member of Art Blakey and The Jazz Messengers as well as a member of The Jackie McLean group. In this live date, he is joined by master pianist Larry Willis, who does not disappoint. Also in the band are Michael DiRubbo, Gerald Cannon and Willie Jones III. ~ Editorial Reviews https://www.amazon.com/Steve-Davis-Quintet-Smalls-featuring/dp/B003NKU9LY

Personnel:  Steve Davis – Trombone;  Mike DiRubbo – Alto;  Larry Willis – Piano;  Gerald Cannon – Bass;  Willie Jones III - Drums

Live at Smalls

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Kathy Kosins - Mood Swings

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 50:04
Size: 115,1 MB
Art: Front

(4:07)  1. I Was There
(5:20)  2. Paradise
(6:02)  3. Foxey Lady
(5:35)  4. Just By Looking in Your Eyes
(3:36)  5. No Ordinary Joe
(5:53)  6. Maybe September
(3:11)  7. Livin' in Style
(3:30)  8. Between Your Heart and Mine
(5:30)  9. Love Me Like a Song
(3:47) 10. Gee Baby, Ain't I Good To You
(3:28) 11. Melancholy Serenade

Her self-produced album showcases the Detroit native's songwriting: 7 of the 11 songs are hers. They're refreshing songs. "No Ordinary Joe" is based on the chord changes to "Pennies From Heaven." Kathy Kosins has studied the jazz repertoire, and consumed several years in creating this album. Her thin, light vocal quality, however, deters her from convincing. A veteran of pop music and R&B experiences, she's forced into a direction that holds her tightly in its grasp. Even the light, bossa nova mood on her "Love Me Like a Song" turns into an R&B experience. Other aspects of her project turn out uneven. Howard Levy isn't convincing in a smooth jazz role, while Michael King turns over a Jimi Hendrix "Foxey Lady" quite well. Remember the beautiful theme from Jackie Gleason's CBS television shows? "Melancholy Serenade" was a big, broad and beautiful showcase tune. Kosins uses it to close out the session, and the mood is lost. One high point comes through "Between Your Heart and Mine," with its Lambert, Hendricks and Ross sentiment. An upbeat original, the song swings with lyrics and scat in an uplifting scene. Kosins swings merrily, but not with the soulful expression needed for these mood swings. ~ Jim Santella

Personnel: Kathy Kosins- vocal; Rick Roe, Ellen Rowe, Paul Libman- piano; Gary Nester- synths; Paul Keller, Eric Hochberg- bass; Gerald Cleaver, Danny Cox, Pete Siers- drums; Ruben Alvarez, Dennis Sheridan- percussion; Dave Onderdonk, Michael King- guitar; Larry Nozaro, Keith Kaminsky- alto saxophone; Andrew Bishop, Jim Gailloreto, Shawn "Thunder" Wallace- tenor saxophone; David Luther- baritone saxophone; Rob Parton, Jeff Stout, Paul Finkbeiner- trumpet; Tim Coffman, Chris Smith- trombone; Howard Levy- harmonica on "Paradise;" Jim Gwinn- cymbals on "Melancholy Serenade;" Michael Whalen- vibraphone, strings on "Melancholy Serenade;" Rob Ripho- vibraphone on "Maybe September;" Sunny Wilkinson- added vocal on "Just By Looking In Your Eyes."

Mood Swings

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Richard Elliot - After Dark

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 64:35
Size: 148,9 MB
Art: Front

(4:37)  1. Street Beat
(3:07)  2. Song For Her
(4:59)  3. As I Sleep
(4:23)  4. After Dark
(5:13)  5. El Anio
(4:05)  6. Tonight
(5:28)  7. On The Run
(4:22)  8. If Tomorrow Never Comes
(4:34)  9. Hold Me Tight
(5:15) 10. Bridge Over Troubled Water
(5:03) 11. The Boys From The Bay
(4:39) 12. Candlelight
(3:55) 13. So Special
(4:49) 14. Slow It Down

Some might dub Richard Elliot the James Brown of contemporary jazz for the way his tenacious tenor exploded around some of the freshest R&B tinged hooks in the genre. After more than a handful of albums, the moniker still applies, though it is slightly maddening that he seems to best maintain his popularity by refusing to stretch beyond the simple energy that originally garnered it. After Dark is trademark Elliot a rich and urgent flow over essentially generic melodies and typical pop-jazz production. A pop cover here ("Bridge Over Troubled Water"), a vocal there. But where's the spark? He certainly teases us, slamming some horns, hip-hop and improv on the best cut, "The Boys From The Bay," and shifting gears towards the breezes of Latin America on "El Anio." A later house mix number ("So Special") perfectly captures the trend towards fusing traditions with boom box excitement. But between these gems is a sea of so-so material that, while certainly easy to listen to, once again fails to capture the fire of Elliot's explosive live shows. Then again, the feeling might be that it's worked well for seven albums, why mess with crowd pleasing success? ~ Jonathan Widran http://www.allmusic.com/album/after-dark-mw0000626518

Personnel: Richard Elliot (tenor saxophone); Richard Smith (guitar); Ron Reinhardt (keyboards); Dave Reinhardt (drums, percussion); Luis Conte (percussion).

After Dark

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Aki Takase & David Murray - Cherry - Sakura

Styles: Piano And Saxophone Jazz 

Year: 2017

File: MP3@320K/s

Time: 50:48

Size: 117,0 MB

Art: Front

(9:20)  1. Cherry - Sakura

(5:44)  2. A Very Long Letter

(5:41)  3. Let's Cool One

(5:55)  4. To A.P. Kern

(6:27)  5. Stressology

(6:18)  6. Nobuko

(4:52)  7. Blues for David

(6:28)  8. A Long March to Freedom

While remaining steeped in the musical traditions of her native Japan, pianist and composer Aki Takase emerged as one of the most versatile figures in contemporary jazz, her work running the gamut from conventional structures and harmonies to complete abstraction. Born in Osaka on January 26, 1948, and raised in Tokyo, she received her first piano lessons at the age of three, going on to study at Tohogakuen Music University. Influenced by the work of Ornette Coleman, John Coltrane, and Charles Mingus, Takase soon turned to improvisation, and in 1971 was regularly performing professionally; by the age of 25, she was already leading her own groups. In 1978, she first traveled to the U.S., and later recorded with Dave Liebman; in 1981, she also journeyed to Europe, where she and her trio played the Berlin Jazz Festival. By 1982, Takase was regularly in the studio, leading such dates as A.B.C. and Perdido. In New York, she recorded with artists including Sheila Jordan, Cecil McBee, and Bob Moses, and also delivered a much-acclaimed performance at the East-West Festival in Nuremburg. From 1988 to 1994, Takase regularly played in a duo with Maria Joao and maintained her busy festival schedule; during the mid-'90s, she also toured with Coltrane alumni Rashied Ali and Reggie Workman, founded a septet comprised of other Japanese musicians, composed for a string quartet, and continued to work as a solo performer (at times playing the koto, a traditional Chinese 17-string zither). ~ Jason Ankeny https://itunes.apple.com/us/artist/aki-takase/id27157926#fullText

Personnel:  Piano – Aki Takase;  Tenor Saxophone, Bass Clarinet – David Murray

Cherry - Sakura

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Roma Trio - Love Is A Many Splendored Thing

Bitrate: MP3@320K/s
Time: 60:05
Size: 137.6 MB
Styles: Contemporary jazz
Year: 2006
Art: Front

[5:11] 1. Love Is A Many-Splendored Thing
[4:35] 2. If I Should Lose You
[8:59] 3. Whisper Not
[4:42] 4. Airegin
[5:22] 5. On Green Dolphin Street
[4:36] 6. I Love You Porgy
[5:28] 7. Tea For Two
[6:46] 8. Claudia's Nightmare
[7:42] 9. Message In A Bottle
[6:44] 10. Everything I Love

Venus owner and producer Tetsuo Hara is known for recruiting various American jazz musicians for record dates during his regular trips to New York City, but he is also spending time in Europe, where he recruited the Roma Trio for this excellent CD. Unless they gain exposure in the U.S. through appearing on American recordings or performing in New York City, European jazz musicians have a tough time getting recognized in the West. But Hara has long since learned the preferences of the Japanese jazz market, which readily seems to absorb bands he has introduced through his label. Pianist Luca Mannutza, bassist Gianluca Renzi, and drummer Nicola Angelucci tackle a program that includes typical standards, a few overlooked chestnuts, time-tested jazz favorites, and more. The often banal "Love Is a Many-Splendored Thing" is an unusual choice for an opener, but the Roma Trio don't play it strictly as a slow ballad, nor do they take that approach with the popular "If I Should Lose You," preferring to set up the tune and then launch into rapid-fire bop. "On Green Dolphin Street" is often played by jazz groups with little thought, but the addition of Renzi's infectious vamp provides a novel approach. The pianist's adaptation of Sonny Rollins' "Airegin" takes it a bit from the usual path, blending Brazilian rhythms and classical nuances.Angelucci contributed "Claudia's Nightmare," which sets up as a moody Latin ballad, only to detour frequently into brisk bop. One surprise is the ease with which rocker Sting's "Message in a Bottle" is transformed by the trio into an interesting jazz vehicle. It seems likely that the Roma Trio will gain a foothold in the Japanese jazz market with this potent CD, though they deserve greater exposure worldwide. ~Ken Dryden

Love Is A Many Splendored Thing

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Mike & The Mechanics - Hits

Bitrate: MP3@320K/s
Time: 60:15
Size: 138.0 MB
Styles: Pop/Rock
Year: 1996
Art: Front

[5:39] 1. All I Need Is A Miracle
[3:38] 2. Over My Shoulder
[3:57] 3. Word Of Mouth
[5:29] 4. The Living Years
[4:15] 5. Another Cup Of Coffee
[4:43] 6. Nobody's Perfect
[6:12] 7. Silent Running
[4:19] 8. Nobody Knows
[4:24] 9. Get Up
[4:48] 10. A Time And Place
[4:20] 11. Taken In
[3:54] 12. Everybody Gets A Second Chance
[4:31] 13. A Beggar On A Beach Of Gold

Bass – Tim Renwick; Drums – Gary Wallis, Peter Van Hooke; Guitar – Mike Rutherford, Tim Renwick; Keyboards – Adrian Lee, B. A. Robertson, Paul Carrack, Steve Piggot; Vocals – Paul Carrack, Paul Young.

All of Mike + the Mechanics' biggest hits are included on the 13-track Hits collection. Though there are a fair share of non-hits and mediocre album tracks, Hits is a first-rate compilation, giving the casual fan all of the essential Mike + the Mechanics tracks, from "Silent Running (On Dangerous Ground)" and "All I Need Is a Miracle '96" to "The Living Years." ~Stephen Thomas Erlewine

Hits

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Dominique Magloire - Travelin' Light With Billie

Bitrate: MP3@320K/s
Time: 65:16
Size: 149.4 MB
Styles: Vocal jazz
Year: 2015
Art: Front

[1:35] 1. One O'clock Jump, Pt. 1
[3:53] 2. Swing Brother Swing
[3:38] 3. They Can't Take That Away From Me
[4:31] 4. Travelin' Light
[5:39] 5. God Bless The Child
[4:00] 6. Solitude
[5:17] 7. All Of Me
[4:49] 8. My Man
[3:29] 9. I Cried For You
[3:22] 10. Don't Explain
[5:02] 11. The Man I Love
[3:06] 12. Why Was I Born
[3:33] 13. Strange Fruit
[3:01] 14. I Can't Get Started
[8:32] 15. Fine And Mellow
[1:40] 16. One O'clock Jump, Pt. 2

À l’occasion du centenaire de la naissance de l’une des plus grandes chanteuses de jazz, Dominique Magloire sort un album hommage à Billie Holliday « Travelin’ light with Billie ». Un album rendu possible grâce à sa collaboration avec Michel Pastre, grand saxophoniste français et la participation des meilleurs musiciens et arrangeurs de jazz français. Cet album a été enregistré comme dans les années 40, avec toute l’équipe réunie dans la même pièce et une prise directe par chanson.

Ce projet est un hommage à cette interprète illustre au parcours parfois chaotique, devenue l’une des plus grandes chanteuses de jazz au monde, mais aussi le symbole de la lutte contre la ségrégation et les violences pratiquées sur les noirs dans le sud des Etats-Unis. Dotée d’une voix sublime, elle a profondément changé la façon de chanter…

Travelin' Light With Billie

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The World's Greatest Jazz Band Of Yank Lawson & Bob Haggart - Live At The Roosevelt Grill

Bitrate: MP3@320K/s
Time: 46:32
Size: 106.5 MB
Styles: Big band, Dixieland
Year: 1970/2007
Art: Front

[3:25] 1. That's A Plenty
[3:48] 2. Five Point Blues
[5:06] 3. My Honey's Lovin' Arms
[3:25] 4. Black And Blue
[4:12] 5. That D Minor Thing
[3:37] 6. Royal Garden Blues
[5:26] 7. Come Back Sweet Papa
[4:05] 8. Under The Moonlight Starlight Blue
[3:49] 9. Constantly
[5:05] 10. New Orleans
[4:30] 11. The Jazz Me Blues

This all-star group was founded in 1968 by Dick Gibson at his sixth annual Jazz Party. Despite the impossibility of living up to its outrageous name, the band was indeed the finest in Dixieland/classic jazz. Co-led by Yank Lawson and Bob Haggart, and also featuring Billy Butterfield, Bud Freeman, Bob Miller, and Ralph Sutton, the WGJB originally alternated standards with Dixiefied versions of current pop tunes like "Mrs. Robinson," but its finest album (Live on Atlantic) sticks to hot jamming. After the personnel changed a bit (Eddie Miller and Dick Wellstood passed through the band), the group broke up in 1978, although reunions by Lawson and Haggart in later years sometimes revived the name. Their recordings for Project 3, Atlantic, and their own World Jazz label are pretty much all worth getting. ~bio by Scott Yanow

Live At The Roosevelt Grill

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Anne Burnell - Blues In The Night: Songs By Harold Arlen

Bitrate: MP3@320K/s
Time: 61:21
Size: 140.5 MB
Styles: Jazz vocals
Year: 2005
Art: Front

[4:10] 1. Blues In The Night
[3:38] 2. A Woman's Prerogative
[5:17] 3. Happiness Is A Thing Called Joe
[5:10] 4. I Gotta Right To Sing The Blues
[5:35] 5. Last Night When We Were Young
[5:20] 6. Over The Rainbow
[5:49] 7. Stormy Weather
[5:25] 8. Paris Is A Lonely Town
[4:03] 9. Come Rain Or Come Shine
[5:40] 10. Ill Wind
[6:43] 11. The Man That Got Away
[4:25] 12. Happy With The Blues

Burnell's engaging performance style instantly grabs the ear, and she does here what she does so well. ~ Jeff Rossen, Cabaret Scenes, March, 2005.

Anne Burnell, formerly Anne Pringle, has been performing to sell-out crowds at large festivals and small clubs in the Chicago area for 12 years. She’s been seen at The Taste of Chicago and The Taste of River North, as well as at The Metropole Room (Fairmont Hotel), Toulouse on the Park, Pop’s for Champagne, and Davenport’s Cabaret with her pianist/vocalist Mark Burnell. The Burnell duo have also had successful engagements in New York City at Don’t Tell Mama, Rose’s Turn, and Judy’s*Chelsea, in Amsterdam at Media Café B&W and in Paris at Les Trois Maillets.

Blues In The Night: Songs By Harold Arlen

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Sonny Stitt - Kaleidoscope

Styles: Saxophone Jazz
Year: 1950
File: MP3@320K/s
Time: 44:38
Size: 104,0 MB
Art: Front

(2:35)  1. Stitt's It
(2:38)  2. Cool Mambo
(2:25)  3. Blue Mambo
(2:28)  4. Sonny Sounds
(3:03)  5. Ain't Misbehavin'
(3:01)  6. Later
(3:01)  7. P.S. I Love You
(2:48)  8. This Can't Be Love
(3:26)  9. Imagination
(2:33) 10. Cherokee
(2:41) 11. Can't We Be Friends
(2:47) 12. Liza
(3:00) 13. To Think You've Chosen Me
(2:29) 14. After You've Gone
(3:09) 15. Our Very Own
(2:26) 16. S'wonderful

Deftly handling the alto, tenor, and baritone saxophone, bebop giant Sonny Stitt is heard to perfection here on a variety of early-'50s dates. Stitt not only shows off his patented speed throughout, but he goes a long way in dispelling criticisms of him being all fire and no grace. The 16-track disc kicks off with four tight, Latin-tinged swingers featuring an octet that includes trumpeter Joe Newman and timbales player Humberto Morales. Switching to piano quartet mode for the bulk of the disc, Stitt ranges effortlessly from frenetic blasts ("Cherokee") to golden-hued ballads ("Imagination"). Capping off the set with four bonus cuts featuring the likes of Gene Ammons and Junior Mance, Stitt delivers one of the top sets of performances from the late bebop era. ~ Stephen Cook http://www.allmusic.com/album/kaleidoscope-mw0000272732

Personnel: Sonny Stitt (alto saxophone, tenor saxophone, baritone saxophone); Larry Townsend (vocals); Gene Ammons (baritone saxophone); Joe Newman , John Hunt , Bill Massey (trumpet); Matthew Gee (trombone); John Houston, Charles Bateman, Junior Mance, Kenny Drew (piano); Wesley Landers, Art Blakey, Shadow Wilson, Teddy Stewart (drums); Humberto Morales (timbales).

Kaleidoscope

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Jessica Pilñas - Bitter And Sweet

Styles: Vocal Jazz

Year: 2011

File: MP3@320K/s

Time: 55:07

Size: 126,7 MB

Art: Front

(4:35)  1. There Must Be An Angel

(3:58)  2. Hurry

(4:10)  3. So I Fell

(5:34)  4. Just Not Today

(3:37)  5. Bridge Over Troubled Water

(4:58)  6. Don't Dream It's Over

(4:16)  7. Bitter And Sweet

(5:08)  8. The Winner Takes It All

(5:15)  9. Stupid

(4:37) 10. The More I See

(3:54) 11. Man In A Balloon

(4:59) 12. Don't Explain

Jessica Georganne Pilnäs, (born 5 July 1978 in Åryd, Växjö ), is a Swedish singer perhaps mostly known for her song "Jag ger dig allt" (English: I give you all). She sang the song in Melodifestivalen 1995, and came in third place. In 2000, Her song, "Pretender", which she recorded under the name Isa, also became a hit single in Sweden. Born in Åryd, she is the daughter of Thommy Gustafsson, keyboard player for the Swedish band Sven-Ingvars. She married the guitarist Johan Norberg and by that taking his family name and known as Jessica Norberg although continuing to use her original name Jessica Pilnäs in various recordings and appearances at concerts. https://en.wikipedia.org/wiki/Jessica_Piln%C3%A4s

Bitter And Sweet

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Andy LaVerne Trio - Glass Ceiling

Styles: Piano Jazz
Year: 1993
File: MP3@256K/s
Time: 65:49
Size: 120,7 MB
Art: Front

(4:28)  1. Glass Ceiling
(5:57)  2. Daahoud
(7:14)  3. Litha
(4:27)  4. Zoom
(8:29)  5. You're My Thrill
(5:21)  6. Tones for Joan's Bones
(4:44)  7. Green Piece
(8:12)  8. Jordu
(7:07)  9. All of You
(9:46) 10. Joy Spring

Andy LaVerne's series of consistently fresh CDs for Steeplechase kicked off in the late '80s and shows no signs of letting up, making one wonder if record labels in his native land are too busy searching for the latest young jazz superstar to notice his immense talent. This trio session from 1993 features the pianist with frequent collaborator Steve LaSpina on bass and drummer Anton Fig in a program that includes gems written by Clifford Brown (a driving "Daahoud" and an unusual, break-filled "Joy Spring"), a pair of Chick Corea's tunes (a romp through "Tones for Joan's Bones" and an alternately dark and buoyant interpretation of the lesser-known "Litha"), and a brilliantly reshaped arrangement of Duke Jordan's "Jordu." The quirkiness of LaVerne's "Glass Ceiling" and the drama of his "Green Piece" merit additional attention to his considerable skill as a composer. Like all of Andy LaVerne's many Steeplechase sessions, Glass Ceiling is also highly recommended. ~ Ken Dryden http://www.allmusic.com/album/glass-ceiling-mw0000083789

Personnel:  Andy LaVerne (piano); Steve LaSpina (bass); Anton Fig (drums).

Glass Ceiling

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Bud Powell - Lover Come back To Me

Styles: Piano Jazz
Year: 1953
File: MP3@320K/s
Time: 32:42
Size: 78,9 MB
Art: Front

(5:37)  1. Tea For Two
(3:34)  2. It Could Happen To You
(7:02)  3. Lover Come Back To Me
(2:55)  4. Lullaby Of Birdland
(3:32)  5. I Want To Be Happy
(4:15)  6. Embracable You
(2:46)  7. I've Got You Under My Skin
(3:01)  8. Ornithology

One of the giants of the jazz piano, Bud Powell changed the way that virtually all post-swing pianists play their instruments. He did away with the left-hand striding that had been considered essential earlier and used his left hand to state chords on an irregular basis. His right often played speedy single-note lines, essentially transforming Charlie Parker's vocabulary to the piano (although he developed parallel to "Bird"). Tragically, Bud Powell was a seriously ill genius. After being encouraged and tutored to an extent by his friend Thelonious Monk at jam sessions in the early '40s, Powell was with Cootie Williams' orchestra during 1943-1945. In a racial incident, he was beaten on the head by police; Powell never fully recovered and would suffer from bad headaches and mental breakdowns throughout the remainder of his life. Despite this, he recorded some true gems during 1947-1951 for Roost, Blue Note, and Verve, composing such major works as "Dance of the Infidels," "Hallucinations" (also known as "Budo"), "Un Poco Loco," "Bouncing with Bud," and "Tempus Fugit." Even early on, his erratic behavior resulted in lost opportunities (Charlie Parker supposedly told Miles Davis that he would not hire Powell because "he's even crazier than me!"), but Powell's playing during this period was often miraculous. A breakdown in 1951 and hospitalization that resulted in electroshock treatments weakened him, but Powell was still capable of playing at his best now and then, most notably at the 1953 Massey Hall Concert. Generally in the 1950s his Blue Notes find him in excellent form, while he is much more erratic on his Verve recordings. His warm welcome and lengthy stay in Paris (1959-1964) extended his life a bit, but even here Powell spent part of 1962-1963 in the hospital. He returned to New York in 1964, disappeared after a few concerts, and did not live through 1966. In later years, Bud Powell's recordings and performances could be so intense as to be scary, but other times he sounded quite sad. However, his influence on jazz (particularly up until the rise of McCoy Tyner and Bill Evans in the 1960s) was very strong and he remains one of the greatest jazz pianists of all time. ~ Scott Yanow http://www.allmusic.com/artist/bud-powell-mn0000640675/biography

Personnel:  Bass – Oscar Pettiford;  Drums – Roy Haynes;  Piano – Bud Powell

Lover Come back To Me

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