Reuben Brown - Blue And Brown

Styles: Piano Jazz
Year: 1998
File: MP3@256K/s
Time: 67:47
Size: 128,2 MB
Art: Front

(4:43)  1. All My Tomorrows
(4:52)  2. I Believe In You
(3:17)  3. I'm Always Chasing Rainbows
(3:22)  4. I Cover The Waterfront
(3:54)  5. Things Ain't What They Used To Be
(4:19)  6. Beautiful Love
(4:41)  7. Look Away
(3:25)  8. You Took Advantage Of Me
(4:12)  9. Round About Midnight
(6:52) 10. Take The A Train
(4:37) 11. I Thought About You
(6:47) 12. The End Of A Love Affair
(4:30) 13. Central Park West
(2:57) 14. Don't Blame Me
(5:09) 15. Blue And Brown

A native of Washington D.C., pianist Reuben Brown seems to have made a few records back in the early ‘90s and then disappeared, taken off the scene by some illness alluded to in the liners to this set. In addition to those sides cut in 1994 that appeared on his debut trio date for SteepleChase, Ice Scape, come the fifteen solo tracks included here. Recorded with exceptional clarity, all of the subtle nuances that make up Brown’s mercurial technique come shining through. Be it a ballad, where his sincere interpretations are affecting, or faster paced material, Brown convincingly tells his story in a fashion that is never showy but which communicates directly with the listener. He evidently likes the piano’s lower register, as his tasty rumblings on “Beautiful Love” make clear. His bebop chops are also in top shape, as he turns “I Believe In You” into the silk purse that one might never think possible. All but two performances push the four-minute mark and maybe that’s why this set, along with the previously mentioned attributes, makes such a strong initial impression. None of the meanderings that often accompany solo discs are to be found here and if Brown makes his way back soon, one can only wonder what future treasures may be in the works. ~ C.Andrew Hovan https://www.allaboutjazz.com/blue-and-brown-reuben-brown-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Reuben Brown- solo piano

Blue And Brown

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Hanna Paulsberg Concept - Waltz for Lili

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 40:26
Size: 92,7 MB
Art: Front

(8:02)  1. Waltz for Lili
(6:27)  2. Potters Lullaby
(6:21)  3. Sang til Pastor Wang
(6:31)  4. Noah's Tune
(7:21)  5. A Trip to the Brown Castle
(5:42)  6. Mufasa

Norway's place on the international jazz map has been assured for decades: first with saxophonist Jan Garbarek, guitarist Terje Rypdal and bassist Arild Andersen; then, a second wave including trumpeters Arve Henriksen and Nils Petter Molvaer, and pianists Bugge Wesseltoft and Christian Wallumrod; and, more recently, in another wave featuring In The Country and Splashgirl. Still, its scene has often seemed distanced from the American tradition that nevertheless resides at the core of many of these players. Enter saxophonist Hanna Paulsberg and Waltz for Lilli, which suggests that it's possible to revere that tradition and, at the same time, forge your own culture-rich identity. The twenty-something Paulsberg is already an alum of the Trondheim Jazz Orchestra, most recently in collaboration with keyboardist Ståle Storløkken and psychedelic space-rock outfit Motorpsycho at the 2010 Molde Jazz Festival and the resulting The Death Defying Unicorn (Rune Grammofon, 2012). Despite Paulsen finding herself in a multiplicity of contexts, her allegiance to the jazz tradition is abundantly clear with Hanna Paulsberg Concept (HPC), also featuring three other recognition-worthy young Scandinavians. Waltz for Lilli is many things, but one of them is that it swings and when it swings, it swings hard. Over the course of six Paulsberg originals, HPC also demonstrates a strong allegiance to melody. The opening modal title track burns with feverish energy, thanks to the firm but open-ended anchor provided by bassist Trygve Waldemar Fiske and freewheeling drummer Hans Hulbækmo, but when it comes to soloing, Paulsberg favors careful choices over unfettered virtuosity. Combined with pianist Oscar Grönberg who blends McCoy Tyner-informed, block-chord accompaniment with sparer Nordic lyricism it suggests how John Coltrane might have sounded, had he opted for space and decay rather than sheets of sound. Paulsberg's attention to tone was inspired, no doubt, from antecedents like Garbarek and Tore Brunborg without sounding like either and gives her a unique ability to sear without speed.

Paulsberg's writing is deceptive; enticing, often with seemingly simple concepts, its layers unfold across repeated listens. "Potters Lullaby" starts with a simple percussion motif that becomes more complex when first Grönberg and then Fiske join in for a rhythmically contrary unison line; when Paulsberg enters, it's yet another simple idea that, interlocking with the rest of her band mates, turns into something far deeper. "Sang til Pastor Wang" begins as a spare piano/sax duet, a rubato tone poem setting the stage for the first of two bass solos that assert Fiske as far more than mere rhythm section partner, playing off Grönberg with the kind of profound empathy that normally comes from far more experience and longevity. It's no wonder HPC won the Young Nordic Jazz Competition at the 2011 Trondheim Jazz Festival. The other track to feature Fiske is the closing "Mufasa," an even darker tune that, in its choice to end in a whisper Paulsberg's tenor becoming increasingly breathy until that's all that's left closes what would have easily been included as a Best of 2012 "New Discovery." It may only be January, but Hanna Paulsberg Concept's auspicious debut already looks like a shoe-in for 2013's year-end list. ~ John Kelman https://www.allaboutjazz.com/waltz-for-lilli-hanna-paulsberg-ora-fonogram-review-by-john-kelman.php

Personnel: Hanna Paulsberg: saxophone; Trygve Waldemar Fiske: acoustic bass; Oscar Grönberg: piano; Hans Hulbækmo: drums.

Waltz for Lili

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Sunna Gunnlaugs - Cielito Lindo

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 63:04
Size: 147,8 MB
Art: Front

(4:40)  1. Cielito Lindo
(5:05)  2. Compassion
(0:50)  3. Spin 8
(5:32)  4. Dry Cycle
(7:04)  5. Endastopp
(4:16)  6. Summertime
(1:43)  7. Spin 9
(5:01)  8. Workaround
(4:52)  9. Vetrarstef
(7:08) 10. Icelandic Blues
(3:24) 11. Tiltekt
(1:51) 12. Spin 11
(7:06) 13. All Agaze
(4:25) 14. Johnsburg, Illinois

This is the third consecutive album in the space of five years from Icelandic pianist Sunna Gunnlaugs featuring her trio with bassist Þorgrímur Jónsson and drummer Scott McLemore. It inhabits a similar aesthetic as their previous albums, which embraces the open of the Icelandic horizon but doesn’t ignore the blues. She continues her improvised “spins”; the interludes that have been woven through her albums since her last quartet release “The Dream” featuring Loren Stillman and Eivind Opsvik. All three members of contribute compositions and there are even pieces by Tom Waits and George Gershwin. https://www.cdbaby.com/cd/sunnagunnlaugs3

Personnel:  Sunna Gunnlaugs – piano;  Þorgrímur Jónsson – bass;  Scott McLemore - drums

Cielito Lindo

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Robyn Spangler - On A Liquid Afternoon

Bitrate: MP3@320K/s
Time: 41:11
Size: 94.3 MB
Styles: Easy Listening
Year: 2009
Art: Front

[3:15] 1. Everything
[4:23] 2. Come To Your Senses
[3:24] 3. 50 Ways To Leave Your Lover
[3:43] 4. Hit Me With A Hot Note
[2:56] 5. In A Restaurant By The Sea
[3:30] 6. Willin
[4:15] 7. You're Everything
[3:27] 8. Faithless Love
[3:01] 9. The Way You Do The Things You Do
[2:59] 10. Every Time I Look At You I Fall In Love Again
[2:46] 11. You're Free, I'm Gone
[3:28] 12. Live

This is a wonderful CD , showcasing the marvelous voice of Robyn Spangler. Great listening for the daily commute, very highly recommended. ~J.W. Spencer

Robyn got her first acting part at the age of six. Not yet able to read a script her mother repeated the lines and the lines were memorized by rote. She started singing and performing professionally at 17. (She would have started sooner but her parents forbid it and an underage singer would have been kicked out of most of the clubs and bars anyway.) Needless to say, Robyn has had an interesting and varied career working both in front of audiences and behind the scenes with a who's who in both the theater and film industries.

On A Liquid Afternoon

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Paul Tillotson - Funky Good Time

Bitrate: MP3@320K/s
Time: 46:00
Size: 105.3 MB
Styles: Piano jazz
Year: 2002
Art: Front

[7:54] 1. Loungin' @ The Evelyn
[6:09] 2. Seltzer (The Snow Song)
[4:51] 3. Dear Old Dad
[7:27] 4. Chartreuse
[4:04] 5. Funky Good Time
[4:22] 6. Where's Eric
[5:16] 7. Morphine
[5:53] 8. Dizzy

Paul Tillotson, piano; Mike Merritt, bass; and James Wormworth, drums. Based in New York City, where they make regular live appearances, the trio fills audiences with undeniable love.

Mike Merritt, son of the legendary jazz Bassist Jymie Merritt, currently appears nightly on the NBC hit TV show, Late Night with Conan O'Brien. James Wormworth, son of the great jazz drummer Jimmy Wormworth, is a successful freelance drummer appearing on numerous CD's, TV and live with leaders such as Johnnie Johnson and Donald Fagen. Paul Tillotson, composer, arranger, leader and spontaneous pianist is originally from Boise, Idaho. He has spent most of his life seeking and playing with the greatest musicians New York City and the world has to offer. The music on Funky Good Time offers a glimpse into the heart and soul of his journey.

Funky Good Time is their first recording together! Released in 2002, this CD features eight original Tillotson songs. Beginning with the funky rocking Loungin' @ the Evelyn and Funky Good Time to the Latin favors of Seltzer, Where's Eric? and Dizzy, to the sultry ballads Chartreuse and Morphine and all the way to the swinging Dear Old Dad, there is something for everyone here!

Funky Good Time

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Scan-Am Quartet - Atlantic Bridges

Bitrate: MP3@320K/s
Time: 71:53
Size: 164.6 MB
Styles: Contemporary jazz
Year: 2010
Art: Front

[9:58] 1. Calixto´s Way
[5:54] 2. 18th Letter Of Silence
[9:58] 3. San Fran Blues
[7:04] 4. Organic Fusion
[6:28] 5. Melancholia
[5:57] 6. The Man With Two Left Feet (He Ain´t Going Nowhere)
[8:32] 7. Purple And Orange
[5:34] 8. Nights In Brooklyn
[8:32] 9. Mean Gene
[3:52] 10. In Our Lifetime (Nov. 4. 2008. 10 Pm Cst)

The Scan-Am Quartet features top musicians from Denmark, Sweden and the USA: Swedish stellar alto man Fredrik Kronkvist, Danish New York-resident, pianist Søren Møller and Danish bassist Morten Ramsbøl (these three had previously collaborated on a project with the world-famous drummer Antonio Sanchez - ”A Tribute to Trane” released in 2007). To this trio they added another top-notch drummer : Jason Marsalis - youngest brother to Wynton and Branford - who has been re-defining the vocabulary of jazz drumming since the early 90´s and is known for his exciting rhythmic drive. These four musicians speak the same universal language of improvised music - and on this album take the listener on a musical journey that includes spiritual Coltrane-inspired Afro grooves, New Orleans swing with a modern twist, lyrical Scandinavian ballads, Latin jazz rhythms, American fusion and much more - with compositions by all members of the band.

Atlantic Bridges

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Cory Weeds Quintet - Everything's Coming Up Weeds

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 52:04
Size: 120,0 MB
Art: Front

(6:33)  1. B.B.'s Blue Blues
(7:19)  2. Biru Kirusai
(5:42)  3. Ella's Walk
(5:22)  4. Little Unknown One
(5:59)  5. I've Never Been in Love Before
(5:48)  6. Bailin' on Lou
(4:44)  7. 323 Shuter
(5:14)  8. Cyclaman
(5:20)  9. The Pour

Everything's Coming Up Weeds, the 50th release from the Cellar Live stable, is a stellar recording featuring an extraordinary quintet. At first blush, it recalls the energy and fervor of wonderful Benny Golson bands and, if the memory can be stretched a wee bit further, also some memorable sessions of Jazztet or even a Jazz Messengers middle passage. The date is led by the big tenor sound of Cory Weeds saxophonist, broadcaster, jazz impresario extraordinaire and owner of Canada's leading West Coast nightspot, The Cellar Restaurant and Jazz Club. There is also excellent work from pianist Ross Taggart, trumpeter Jim Rotundi, bassist John Webber and drummer Willie Jones III.  There are several remarkable aspects to this record. First, the writing of the originals is of the very highest order. The music is wonderfully crafted with an extraordinary ear for tonal colors and rhythmic textures, whether it is a blues such as Taggart's "BB's Blue Blues," which appears to be an oblique tribute to Thelonious Monk, or an exotic narrative from Rotundi, "Biru Kirusai," which is almost a title in Bunga Emas (the language of Malaysia) and conjures up images of the sights and smells of exquisite Southeast Asia. The highlight, of course, is Weed's writing, which is mature and exquisitely crafted, with a fine sense of the sonority and sliding elegance of the tenor saxophone. On his "Little Known One," Weeds paints sonic images of Dexter Gordon. And like Gordon, Weeds is able to bend his fat sound to practically cry at the most tender moments of the song.

On Frank Loesser's "I've Never Been in Love Before," Cory Weeds establishes his mastery over the ballad, digging deep into his horn an extracting a genuine, glowing warmth that few tenor saxophonists today have been able to summon, even in balladry. Weeds also exhibits remarkable command of the bebop rhythm with his "Bailin' On You" and "323 Shuter." His chart, "The Pour," sounds like a classic tune from a Jazz Messengers songbook. But make no mistake, this is all Cory Weeds. This is, in fact, the second remarkable aspect of this record. It is bursting with ideas and superb expression. Few small ensembles playing today complement each other with sensitivity to each other's sound. It is like an Duke Ellington band, where each of the players, like alchemists, forge tones that meld into one another. The interplay is almost seamless, with Taggart's "Cyclaman" and Weeds' "The Pour" bringing that molten sound of the quintet to sublime fruition. This is also a wonderfully tongue-in-cheek title: Everything's Coming Up Weeds. If anything, there is jazz in full bloom here, end-to-end. ~ Raul D’Gama Rose https://www.allaboutjazz.com/everythings-coming-up-weeds-cory-weeds-cellar-live-review-by-raul-dgama-rose.php

Personnel: Cory Weeds: tenor saxophone; Jim Rotundi: trumpet; Ross Taggart: piano; John Webber: acoustic bass; Willie Jones III: drums.

Everything's Coming Up Weeds

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Reuben Brown Trio - Ice Scape

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 63:07
Size: 144,9 MB
Art: Front

( 4:17)  1. Billy
(10:18)  2. Mack The Knife
( 5:17)  3. Night In Tunisia
( 6:44)  4. Ice Scapes
( 5:39)  5. Joe
( 6:45)  6. It's The Night I Like
( 3:57)  7. Lonely Afternoon
( 9:00)  8. Twilight At Duke's Place
( 6:27)  9. Lush Life
( 4:40) 10. Catania

Nearly every urban community is blessed with one or more jazz treasures who chose to stay at home. Piano-wise, in D.C. one of those has long been pianist Reuben Brown, whose roll has been slowed by illness in recent years. At places like One Step Down, Brown has eased the fears of many a traveling soloist dealt the often iffy “local rhythm section” card. Thankfully in 1994 Nils Winther of SteepleChase took some time to chronicle Brown’s marvelous, swinging and soulful touch at the piano. Assisted by masters Rufus Reid on bass and homeboy Billy Hart on drums, Brown brings his classic touch to the world. Among the highlights of this date are his unusual, hushed treatment of “Mack The Knife,” given new life courtesy of Reuben’s arrangement. Other standards include “A Night In Tunisia” and a gorgeous solo “Lush Life.” Otherwise Brown displays his keen compositional skills on the remaining seven tracks. ~ Willard Jenkins https://jazztimes.com/reviews/albums/reuben-brown-trio-ice-scape/

Personnel: Reuben Brown (piano);  Billy Hart (drums);  Rufus Reid (bass)

Ice Scape

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Etienne Charles - Creole Soul

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 56:24
Size: 132,7 MB
Art: Front

(0:19)  1. Creole (Intro)
(6:25)  2. Creole
(5:20)  3. The Folks
(5:55)  4. You Don't Love Me
(6:30)  5. Roots
(6:03)  6. Memories
(5:42)  7. Green Chimneys
(4:54)  8. Turn Your Lights Down Low
(6:52)  9. Midnight
(4:52) 10. Close Your Eyes
(3:26) 11. Doin' The Thing

With his simple declaration, "sound is my art...I just try to create," Trinidadian jazz trumpeter Etienne Charles puts into context his role of creator and producer in relation to his latest recording. This new album, previewed earlier this year in Tobago at Jazz on the Beach at Mt Irvine, reveals an evolution of his art that parallels the jazz idiom's most eclectic trumpeter and influence. The fourth studio album from this US-based musician and teacher bristles with a kind of energy that comes from the realization that one has gone beyond; beyond the usual expectations of a Caribbean existence, beyond the boundary of the usual sonic influences that have paved the way for this jazz lion. The familiar tropes of calypso rhythm inflected jazz that have been a hallmark of our jazz here for decades from Duke Ellington's A Drum is a Woman (1956) to Rupert Clemendore's Le Jazz Trinidad (1961) and Dizzy Gillespie's Jambo Caribe (1964)are abandoned for a modern post-bop and jazz fusion take on the material and all its thematic and stylistic influences in the New World. Thematically, this should come as no surprise. Charles has posited that the vision of this album is the showcasing of the influences of all this music in the African diaspora, a melting pot of sounds that shape and determine who he is as a musician and who we are as a people. Etienne Charles tells New York-based jazz writer Eric Sandler: "Creole to me means a world within a world...I'm Trinidadian, but being Trinidadian means that I have many different cultural influences as well as many different influences based on my bloodline." This statement echoes a famous stanza of Nobel Prize winning St Lucian poet Derek Walcott's: "I have Dutch, nigger, and English in me/and either I'm nobody, or I'm a nation." We are all creole.

The artistic parallel does not stop there. Deciphering an arc in the themes of the four albums by Charles to date, one sees in Culture Shock (2006), the name says it all, a musical diary of the newly minted artist in his New World of America. Folklore (2009), the suite based on local legends and Kaiso (2011) are his "Trinidad" albums; going back to the source of inspiration. Now, with Creole Soul, he takes flight. A parallel to VS Naipaul: after his first four books set in Trinidad, he began to travel ..."my writing ambition grew. But when it was over I felt I had done all that I could do with my island material. No matter how much I meditated on it, no further fiction would come..." ultimately to a Nobel prize. Where Charles will go from here is the surprise that jazz holds in store for listeners.  On this recording, there are two distinctive threads, the original compositions and the covers. On the original compositions, we can hear the rhythmic melange that defines a creole soul. Haitian mascaron dance groove meets bomba rhythms and jazz syncopation on "Midnight" (an ode to the end of day), "The Folks" (a dedication to his parents) incorporating calypso's syncopated bass with rhythm & blues, and "Doin' The Thing" featuring jump blues and calypso, all majestically anchored by Grammy award-winning bassist Ben Williams and drummer Obed Calvaire.  Charles strategically makes use of the covers: Bob Marley's "Turn the Lights Down Low" and the Dawn Penn popularized "You Don't Love Me (No No No)" (the latter serendipitously being performed for millions on the BET Awards 2013 in June), position this CD to be heard in the right places by the right ears. Reggae/dancehall music is embedded into mainstream consciousness to a greater extent than calypso. The reverential cover of Winsford 'Joker' Devine's "Memories" and the bouncy cover of Thelonious Monk's "Green Chimneys" (with the "distinctive calypso lope to the beat" that relocates Monk in the old San Juan Hill district of Caribbean New York) completes this West Indian quartet of memorable melodies and artistic legacies that are easily saleable.

Creole Soul may also be considered as Charles' electric album. Landmark distinctions in popular music have been made by pioneers. Bob Dylan going electric in 1965 with Bringing It All Back Home, and Miles Davis' In A Silent Way and Bitches Brew in 1969/70 transformed their respective genres by utilising electric instruments. Charles, on this CD, introduces listeners to the sounds of the electric guitar marking a shift in the sound, previously all acoustic. The album opener, "Creole" (a reflection on his first Haitian sojourn in 2012), featuring the Haitian singer and Houngan Erol Josué combines the kongo drum rhythm of northern Haiti with the urgent funky electric guitar of Alex Wintz that forces one to get up and dance. This is spirit moving feet. This is jazz in the Caribbean. This is improvised joy. Kris Bowers' meandering Fender Rhodes on "The Folks" signals that the intention is to keep the arrangements and sound modern. 

The electric guitar and piano is again repeated on "Roots" (an ode to his family roots) featuring the Martiniquan belair rhythm; the French Caribbean rhythms seem to lend a place for the electric ascendance of Charles. An artist/producer subliminally makes commercial decisions that affect aesthetic outcomes. Charles disagrees, however: "I didn't really think about business when I was writing the music or choosing the tunes. Business happens after the music is made. Business folks will decide based on what they hear if it's worth selling. If we're not happy with what we record, we won't sell it." The sum of these songs says otherwise. That said, this CD can have an impact on the consideration of music from these islands. Like Geoffrey Holder a generation before who had a significant impact on Trinidad music via "House of Flowers," before Harry Belafonte's Calypso, Creole Soul is in that mould of trend setter. Ideas of jazz globalization, Caribbean trans-nation, and diaspora, which Etienne suggests is the arithmetic of creolization, as formulae to contextualise this recording clouds the simple fact that this is a exceptional record by an artist who has grown technically in both his playing and improvisation. We all are creole! ~ Nigel Campbell https://www.allaboutjazz.com/etienne-charles-creole-soul-by-nigel-campbell.php
 

Personnel: Etienne Charles: trumpet, flugelhorn, percussion; Brian Hogans: alto sax; Obed Calvaire: drums; Jacques Schwarz-Bart: tenor sax; Kris Bowers: piano & Fender Rhodes; Ben Williams: bass; Erol Josué: vocals (1, 2); Daniel Sadownick: percussion &vocals (5); D'Achee: percussion (2, 3, 7, 11), vocals(5); Alex Wintz: guitar (2, 5, 6).

Creole Soul

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Lee Konitz - Rhapsody II

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 70:52
Size: 163,1 MB
Art: Front

(8:09)  1. Body And Soul
(1:12)  2. Short Cut #1
(4:38)  3. Another View
(4:10)  4. Lover Man
(1:02)  5. Short Cut #2
(5:48)  6. Kary's Trance
(3:40)  7. Trio #2
(0:59)  8. Indiana Jones #1
(6:49)  9. You Don't Know What Love Is
(2:09) 10. Variation #1
(5:48) 11. Variation #2
(7:53) 12. Some Blues
(1:17) 13. Short Cut #3
(1:31) 14. Indiana Jones #2
(3:33) 15. Round And Round And Round
(4:31) 16. Sittin' In
(1:33) 17. Indiana Jones #3
(6:02) 18. Body and Soul, Finale

This follow-up to Rhapsody is another eclectic mix, with 19 tracks featuring the veteran alto saxophonist in various small group settings. Baritone sax great Gerry Mulligan and the leader flesh out an inspired duet of "Lover Man" and pianist Peggy Stern joins them for the spacy, extemporaneous "Trio #2." The brilliant flugelhornist Clark Terry is only featured on three very brief improvisations based on "Indiana," which is wasting a great talent. Konitz switches to soprano sax for a moody version of "You Don't Know What Love Is" with vocalist Sheila Jordan and bassist Harvie Swartz. This is an interesting but not essential CD that falls short of its namesake predecessor and The Lee Konitz Duets (Original Jazz Classics). ~ Ken Dryden http://www.allmusic.com/album/rhapsody-vol-2-mw0000081654

Personnel: Lee Konitz (soprano saxophone, alto saxophone, tenor saxophone); Judy Niemack, Sheila Jordan (vocals); Jeanfrançois Prins, John Scofield (guitar); Mark Feldman (violin); Toots Thielemans (harmonica); Gerry Mulligan (baritone saxophone); Clark Terry (flugelhorn); Kenny Werner (piano, synthesizer); Frank Wunsch, Peggy Stern, Yuko Fujiyama (piano); Jeff Williams (drums).

Rhapsody II

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J.J. Johnson - The Trombone Master

Bitrate: MP3@320K/s
Time: 46:19
Size: 106.0 MB
Styles: Trombone jazz
Year: 1989
Art: Front

[6:34] 1. Misterioso
[3:51] 2. Laura
[5:56] 3. What Is This Thing Called Love
[4:38] 4. My Old Flame
[9:08] 5. Blue Trombone
[4:46] 6. What's New
[4:27] 7. Satin Doll
[4:46] 8. Cry Me A River
[2:08] 9. Goodbye

Bass – Paul Chambers, Sam Jones); Cornet – Nat Adderley; Drums – Albert Heath, Lou Hayes, Max Roach; Piano – Tommy Flanagan, Victor Feldman; Trombone – J.J. Johnson; Vibraphone – Victor Feldman.

This selection of Columbia recordings is from 1958-1960. Mr Johnson was THE trombonist of the time and plays to such a consistently high standard that it would be impossible to pick out highlights in his playing. The first four tracks are from the album `J.J. In Person' and they benefit from the presence of Nat Adderley (cornet) whose exciting solo on the opening number always turns heads. Next two selections are from `Blue Trombone' and the track bearing that name is a 9-minute classic with terrific support from Tommy Flanagan (piano), Paul Chambers (double bass) and Max Roach (drums). The remaining tracks seem less remarkable but still worthwhile. Young listeners who are not familiar with J.J. would find this CD a good introduction. ~Colin Jones

The Trombone Master

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Arturo Sandoval, WDR Big Band - Mambo Nights

Bitrate: MP3@320K/s
Time: 67:55
Size: 155.5 MB
Styles: Latin jazz
Year: 2016
Art: Front

[7:46] 1. Sofrito
[5:34] 2. Come Candela
[6:00] 3. Asi Asi
[6:43] 4. Manteca
[5:17] 5. A Mayra
[4:54] 6. Autumn Leaves
[6:19] 7. Mambo 934
[5:17] 8. Oye Como Va
[6:38] 9. Mambo Sandoval
[4:41] 10. Quiero Ir Contigo
[8:41] 11. Mambo Inn

Paul Shigihara (guitar); Heiner Wiberny, Karolina Strassmayer (alto saxophone); Paul Heller, Olivier Peters (tenor saxophone); Jens Neufang (baritone saxophone); Rob Bruynen, John Marshall , Klaus Osterloh, Andy Haderer, Wim Both (trumpet); Bernt Laukamp, Ludwig Nuss, Tim Coffman (trombone); Mattis Cederberg (bass trombone); Frank Chastenier (piano); Mark Walker (drums); Pernell Saturnino (percussion).

Arturo Sandoval & WDR Big Band “Mambo Nights” In the course of a career that goes back about forty years, Arturo Sandoval has worked on innumerable album productions both as soloist and as side man. With “Mambo Nights” Señor Sandoval has delivered an eloquent example of his qualities as a performer. In the opening piece, “Sofrito” by Mongo Santamaria, Sandoval and the WDR Big Band, in cheerful mood, set the scene of their plan to revive the great era of Afro-Cuban jazz on this album. In this timeless classic, Sandoval at first keeps a low profile, almost as if he were just warming up; then the following track, “Come Candela”, also written by Mongo Santamaria, sets off a magnificent firework display of spectacular trumpet sounds. In particular his high-register solo notes leave the listener gasping and gaping in amazement. As a reporter from the Washington Star once wrote after a concert: “Sandoval reaches notes most trumpeters barely even know.”

Mambo Nights

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Patti Austin - The Ultimate Collection

Bitrate: MP3@320K/s
Time: 52:55
Size: 121.1 MB
Styles: R&B, Jazz vocals
Year: 1995
Art: Front

[4:15] 1. Hold Me
[4:47] 2. Ability To Swing
[4:56] 3. Givin' In To Love
[3:27] 4. We Fell In Love Anyway
[5:11] 5. The Heat Of Heat
[5:05] 6. Through The Test Of Time
[4:05] 7. You Brought Me Love
[4:31] 8. The Girl Who Used To Be Me
[5:01] 9. Love Is Gonna Getcha
[3:32] 10. Soldier Boy
[4:07] 11. I'll Keep Your Dreams Alive
[3:52] 12. Reach

Patti Austin's honed vocal instrument (she's been singing since she was five) has nailed its share of hits, but not nearly enough for one of urban/soul/pop's better divas. Her clear, compelling soprano never gets tiring, even though she always keeps it in check. You don't get vocal aerobics from Austin á la Chaka Khan or Whitney Houston; you get a smoldering fire that's in a class of its own. Duets with Johnny Mathis, George Benson, and Cleve Francis (the rare African-American country singer) spice this concise 12-song best-of, which is orchestrated by a who who's list of producers, includingThom Bell and Rod Temperton. Revered among the urban jazz set, Patti Austin deserves a bigger piece of the pop pie as well. ~Andrew Hamilton

The Ultimate Collection

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Tom Wopat - The Still Of The Night

Bitrate: MP3@320K/s
Time: 48:27
Size: 110.9 MB
Styles: Vocal jazz
Year: 2000
Art: Front

[3:23] 1. Let's Fall In Love
[3:06] 2. Where Is Love
[3:54] 3. Baby It's Cold Outside
[3:27] 4. Anyone Can Whistle
[4:30] 5. Where Or When
[5:13] 6. In The Still Of The Night
[3:41] 7. The Moon's A Harsh Mistress
[5:00] 8. Makin' Whoopee!
[4:25] 9. Ruby
[3:40] 10. I Get Along Without You Very Well
[4:22] 11. If These Walls Could Speak
[3:42] 12. For All We Know

What's good for one Duke is good for another. TV and music trivia buffs no doubt remember when John Schneider launched a music career from his Dukes of Hazzard stardom with a cover of Elvis' "It's Now or Never." Years after Schneider's last country success, middle-aged co-star Wopat gives his pipes a shot on standards like "Where or When," "Makin' Whoopee," and "For All We Know." Wopat has a pleasant enough voice, but with minimal range (he seems to be reaching hard for the high notes) -- yet there is a sincerity and sweetness here too. Rather than compensate for his lack of power with huge arrangements, he and producer Russ Titelman keep the jazzy arrangements simple and intimate, most of the time with a trio and a horn backed by subtle strings. The arrangements and piano solos of Rob Mounsey and Larry Goldings are particularly first-rate. Certainly a lot of TV and film stars have made the transition, and Wopat makes a professional presentation. While it makes for nice listening, his biggest challenge is to get people to erase images of 20-year-old car crashes and take him seriously as a crooner. ~Jonathan Widran

The Still Of The Night

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Paul Heller - Good Times

Bitrate: MP3@320K/s
Time: 60:01
Size: 137.4 MB
Styles: Saxophone jazz
Year: 2016
Art: Front

[5:47] 1. Felicidado
[6:06] 2. Wings
[6:10] 3. Drivin'
[8:27] 4. Moon Song
[7:34] 5. Good Times
[5:23] 6. Night Shift
[6:48] 7. Finding You
[5:16] 8. Remembering
[7:29] 9. Daybreak
[0:57] 10. Miniature No. 7

Paul Heller - tenor sax; Peter Tiehus - guitar; Olaf Polziehn - piano; Ingmar Heller - bass; Wolfgang Haffner - drums.

Paul Heller has proved that he can serve up classic and modern across a number of albums. And on the album Good Times, Paul Heller displays a new aspect; Good Times grooves like hell. The 10 original compositions really make you want to dance! Paul Heller is a WDR Big Band saxophonist and the artistic director of his own concert series "Next Level Jazz" in Cologne. A true all-star line-up was invited into the Hansahaus Studio in Bonn for this energetic three and a half hour recording session that bubbles over with exuberant playing. He tailor-made nine compositions for the group as well as a bonus track recorded during an overdub session:

Good Times

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Hannah Köpf - Stories Untold

Bitrate: MP3@320K/s
Time: 51:58
Size: 119.0 MB
Styles: Vocal jazz
Year: 2010
Art: Front

[4:18] 1. What Mama Said
[6:34] 2. The Blind Who Can See
[5:01] 3. The Song That The Wind Sings
[5:56] 4. Misty River
[7:03] 5. Footprints In The Snow
[6:54] 6. Love Is..
[4:46] 7. Unconditionally
[4:12] 8. A Story Untold
[3:12] 9. Little Thing
[3:56] 10. Different

Backing Vocals – Filippa Gojo, Tobias Christl; Cello – Jakob Ernst; Double Bass – Jakob Kühnemann; Drums – Silvio Morger; Flute – Anne-Christine Heinrich; French Horn – Carmen Hess; Grand Piano, Electric Piano [Fender Rhodes] – Benjamin Schaefer; Percussion – Lukas Meile; Percussion, Producer – Tim Dudek; Saxophone, Bass Clarinet, Clarinet, Recorder – Holger Werner; Trombone – Klaus Heidenreich; Trumpet, Flugelhorn – Frederik Köster; Viola – Radek Stawarz; Violin – Axel Lindner, Benedikt Hölker; Vocals, Written-By, Arranged By, Producer – Hannah Köpf. Recorded in May 2009 at Fattoria Musica Osnabrück, at Milchmusic Studios Cologne and at Rheinklang Tonstudios Cologne.

The borders between jazz singing and singer/songwriting have often been blurred in the past. However, this borderline has rarely been crossed so energetically and targeted from one side to the other as on this CD. You hear – often in the same song – the influence of Carole King just as much as that of Ella Fitzgerald. And then other style elements are incorporated in passing ranging from Irish folklore all the way to quotes from jazz history. Wonderfully enticing melodies, lyrics full of romanticism and even a saucy wink of the eye: all that embedded in very varied arrangements full of feeling.

This is a completely successful debut, with which Hannah Köpf is going to attract a lot of attention. She deserves it. Following piano lessons at an early age, as a teenager she discovered the songs of Carole King, Joni Mitchell and Joan Baez and then later artists such as Ella Fitzgerald, Maria Schneider and Wayne Shorter. However, she was already studying singing at the conservatory of Amsterdam. Her life has been centered around creating her own world of music since she graduated in 2006. She wants to share this world with other people, which the reason why she can already point to a long list of performances and awards as hardly any other musician of her age can. Her clear, expressive, finely nuanced voice, which still sounds natural, has always cleared the path for her into the heart of her audience.

The band, which has been together since 2007, provides the perfect musical frame for the singer. First, there is the newly crowned "Echo Jazz" prizewinner and exceptional trumpeter Frederik Köster, who also debuted at Jazz thing Next Generation! The same holds for the man on the keyboards, Benjamin Schäfer, who has signed with Enja in the meantime and is one of the most respected pianists. Silvio Morger is a drummer much in demand, who studied under Gene Jackson in New York, among others. Jakob Kühnemann, former bassist of the German Jazz Orchestra, has been playing a long time as well as in other groups with Silvio Morger; the harmony between drums and bass is a factor not to be underestimated in every band! Holger Werner on saxophone and clarinet round out the top-rate band, which is expanded bit by bit with guest musicians for background vocals, percussion, flute or trombone – and even by a string quartet on a few pieces.

Stories Untold

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Hal Galper - Now Hear This

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 48:30
Size: 112,6 MB
Art: Front

(8:27)  1. Now Hear This
(6:16)  2. Shadow Waltz
(5:36)  3. Red Eye Special
(9:08)  4. First Song in the Day
(5:12)  5. Mr. Fixit
(6:16)  6. Bemsha Swing
(7:32)  7. First Song in the Day [#][*][Take]

Hal Galper has had a long, distinguished career as a jazz pianist, bandleader, composer and educator. While the pianist has made a flurry of recordings over the past few years, record labels are beginning to mine the wealth of material he produced during the '=1970s. Now Hear This was first issued by Enja in 1977 and subsequently reissued in its original form, though this edition sports a redesigned cover and a bonus track. Galper's inspired quartet includes trumpeter Terumasa Hino, bassist Cecil McBee and drummer Tony Williams. The title track, which was recorded by its composer with a different quintet during the same decade, benefits from the stripped-down quartet and a decent piano (something not available for the live Century LP Speak With a Single Voice (1978)and reissued as the Double Time CD Children of the Night).  "Now Hear This" is one of Galper's most infectious works, as the pianist launches into a furious solo, with Hino's contribution followed by Williams' simmering break. The playful "Red Eye Special" suggests a bit of McCoy Tyner's influence, punctuated by Hino's searing trumpet. Galper builds "First Song of the Day" upon a simple repeated riff, intermingling thunderous chords and lightning runs in his solo, while both Hino's and McBee's features are equally full of fire. This expanded reissue includes a previously unreleased alternate take of it, which is a bit shorter but no less intense than the master. In addition to Galper's five originals, he includes a sauntering, sassy interpretation of Thelonious Monk's "Bemsha Swing." This is easily one of Galper's best recordings of the 1970s and very desirable to have in this expanded, brighter sounding 24bit edition. ~ Ken Dryden https://www.allaboutjazz.com/now-hear-this-hal-galper-enja-records-review-by-ken-dryden.php

Personnel: Hal Galper: piano; Terumasa Hino: trumpet, flugelhorn; Cecil McBee: bass; Tony Williams: drums.

Now Hear This

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Toni Harper - Vocal & Jazz Essentials

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 65:01
Size: 150,7 MB
Art: Front

(5:36)  1. Love For Sale
(3:30)  2. Can't We Be Friends?
(2:54)  3. Singin' In The Rain
(2:13)  4. Taking A Chance On Love
(3:05)  5. A Foggy Day
(2:46)  6. I Telephoned, I Telegraphed
(3:25)  7. Just a-Sittin' And a-Rockin'
(2:47)  8. Love Is A Wonderful Thing
(2:55)  9. Play Me The Blues
(2:34) 10. Bewitched (Bothered And Bewildered)
(2:39) 11. I Could Write A Book
(4:22) 12. Bewitched
(1:43) 13. Them There Eyes
(2:45) 14. We've Got To Live, Got To Grow
(2:24) 15. Gone With The Wind
(2:41) 16. You Took Advantage Of Me
(2:38) 17. You Don't Know What Love Is
(2:57) 18. Petals On The Pond
(3:27) 19. Little Girl Blue
(3:01) 20. My Memory Book
(4:26) 21. Like Someone In Love

Toni Harper's childhood was made of the magic any aspiring adult artist would kill for: a platinum record, a performance at Carnegie Hall, evenings spent sharing a stage with such performers as Cab Calloway, and invitations to appear on television with Frank Sinatra, Perry Como, Milton Berle, and Ed Sullivan. And all of the magic unfolded before she'd turned 12 years old. The jazz vocalist, who now goes by the name Toni Dunlap, got her big break in 1945 when she went up against a couple hundred other kids at an audition held by choreographer Nick Castle. Harper, who had been a dance student of Maceo Anderson, passed muster as far as her dancing, but when she sang "Waitin' for the Train to Come In," she had the audition sewn up on the spot. Castle cast her in his production of Christmas Follies, which was staged at Los Angeles' Wilshire Ebell Theatre. Harper drew enthusiastic reviews and went on to earn a platinum record when she was eight years old with "Candy Store Blues." Harper paired with Herb Jeffries for "You're Too Tall 'n' I'm Too Small," the number for which she later paired live with Calloway at Los Angeles' Million Dollar Theatre. Television beckoned the young singer and she was a guest on numerous programs, among them Sullivan's weekly variety show. When she wasn't appearing on television, she was singing at numerous New York hot spots that included the Apollo, the Strand, and the Paramount. At the age of 11, Harper topped it all off by singing at Carnegie Hall. Like many child stars, Harper's career slowed down as she began to mature. As a teenager, she was too old for the childhood image that had given her a great start, but too young to effectively take on a more adult image. She attended high school in Los Angeles, involving herself in such extracurricular activities as drama, choir, and the glee club. 

She continued to take professional singing jobs during the school's summer break. Having completed high school in the mid-'50s, and still hampered by her youth, she sang for the teenaged record-buying public. For a young woman of her age, "One Hamburger to Go" was more acceptable in the public eye than any of the more sophisticated songs that she would record in later years, such as "Love for Sale." The vocalist got her chance to sing the more adult songs when she recorded for Verve. In addition to "Love for Sale," Harper recorded such songs as "I Could Write a Book" and "Bewitched, Bothered, and Bewildered." Backing Harper on her self-titled first recording for Verve were pianist Oscar Peterson, drummer Alvin Stoller, guitarist Herb Ellis, and bassist Ray Brown. The vocalist later signed with RCA Victor, recording for the label for about four years and ending in 1963. Harper quit the business in 1966 after devoting more than 20 years to her singing career. ~ Linda Seida https://itunes.apple.com/cy/artist/toni-harper/id27522237#fullText

Vocal & Jazz Essentials

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Mickey Tucker Quartet - Blues In Five Dimensions

Styles: Piano Jazz
Year: 1989
File: MP3@256K/s
Time: 64:04
Size: 117,4 MB
Art: Front

( 8:36)  1. Nica's Dream
( 7:29)  2. Grand Ma, Petite Ma
( 7:57)  3. A Nice Clean Machine for Pedro
(10:41)  4. Synapse II
( 5:59)  5. Jam 'N' Boogie
( 9:08)  6. Blues in 5 Dimensions
(14:10)  7. Bushman

As a child in North Carolina and Pennsylvania, Mickey was drawn to the family's piano before beginning schooling, and his fascination and determination never wavered. Blessed with a succession of excellent teachers who recognized and encouraged his latent abilities, Mickey made steady progress on the classical repertoire through his school years, so much so that in his late teens he was performing important concerts and had pupils of his own. Faced with an uncertain future in the classical music world of the period, Mickey chose to develop the long-suppressed rhythmic sense he possessed and moved into the entertainment sphere. Some years of experience included gospel, rock and jazz and embraced stints with Damita Jo, comedian Timmie Rogers, Little Anthony & the Imperials, followed by work with rhythm 'n' blues artists which led to his learning the Hammond B3 organ, a skill that brought him a three-year gig with saxophonist James Moody, sharing the stage with vocalese innovator Eddie Jefferson. Mickey continued working with “EJ” until the latter's untimely death in 1979, as well as working with Thad Jones/Mel Lewis, Rahsaan Roland Kirk, Frank Foster, Eric Kloss, Sonny Fortune and Willis Jackson.

In the early part of the 70's Mickey recorded an album for Blue Note entitled The New Heritage Ketboard Quartet. Mickey and Sir Roland Hanna played piano, harpsichord and clavinet, with Richard Davis on bass and Eddie Gladden on drums and percussion. Downbeat Magazine review summed up by saying - “Tucker and Hanna are both masters, of technique, but especially of conception of their instruments”. During this period Mickey also recorded his first album for the Xanadu label - Triplicity - and Downbeat had the following comments: “Tucker's dazzling harmonic sensibility is impressively united with an idiomatic eclecticism embracing everything from ragtime to Cecil Taylorish flurries.” Of Mickey's organ rendition of Giant Steps, Downbeat commented, “Tucker demonstrates his kaleidoscopic musical persona and a set of new directions for the electric organ...” By 1976 Mickey was touring with Art Blakey's Jazz Messengers, working at home with Frank Foster's Loud Minority and Living Color groups, leading his own groups that included Junior Cook, Bill Hardman, Marcus Belgrave, Slide Hampton and Eddie Gladden, and recording as both leader and sideman. Of the Muse album, “The Crawl”, the Chicago Tribune remarked, “Tucker writes and plays with more inventiveness and subtlety than one would think possible..”

Mickey recorded a second album for Muse Mister Mysterious as well as recording two albums for the Denon label Theme for a Woogie-Boogie and Sweet Lotus Lips. The latter two titles are still available on one CD under the name Sweet Lotus Lips. The late 70's and early 80's saw Mickey working, recording and touring extensively with artists such as Charlie Rouse, Archie Shepp, Billie Harper, Sonny Stitt, “Philly” Joe Jones, Ted Dunbar, Stanley Turrentine, John Stubblefield and Reggie Workman, to name just a few. In 1982 the Benny Golson/Art Farmer Jazztet Reunion was formed with Mickey in the piano chair. After a 1983 performance at Ronnie Scott's, the London Times review said that, “...Tucker is an entirely exceptional musician.” He continued with the Jazztet until migrating to Australia at the end of 1989. Just prior to leaving the USA Mickey recorded the first of his three Steeplechase CD's Blues In Five Dimensions. This was later followed by Hang In There and the piano solo CD Gettin' There. 

These are all still available; as is a limited number of copies of his second two-piano recording (directly from Tucker by contacting mstucker@iprimus.com.au). The title of this is 176 Keys - Piano Thunder from Down Under, which received rave reviews in Australia, as well as being in the Jazz Rhythms Magazine Top Ten. In 1991 Mickey was involved in a freak accident while teaching at an Arts College in Melbourne, Australia. The base of his spine was seriously damaged, and eventually it became imperative that surgery be performed. The surgery was successful but, unfortunately, Mickey was left with a condition called Reflex Sympathetic Dystrophy in his right foot and leg that precludes his being able to play the piano for more than minutes at any one time. Nevertheless, Mickey's interest in the music has never waned, as can be heard on “Now and Then”, an independently produced CD of mostly live performances, taped over almost a 30-year peiod and now digitally cleaned up to make for some very interesting listening. https://musicians.allaboutjazz.com/mickeytucker

Personnel:  Piano – Mickey Tucker;  Bass – Rufus Reid;  Drums – David Jones;  Guitar – Ted Dunbar

Blues In Five Dimensions

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The Midland Youth Jazz Orchestra - Twist Of The Wrist

Styles: Jazz, Big Band
Year: 2005
File: MP3@320K/s
Time: 58:11
Size: 134,6 MB
Art: Front

(4:49)  1. You Took Advantage Of Me
(5:13)  2. Black And Tan Fantasy
(3:54)  3. Don't Get Around Much Anymore
(4:56)  4. Always And Forever
(4:17)  5. My Man Bill
(3:52)  6. Stardust
(8:03)  7. Take The ''A'' Train
(4:54)  8. Bye Bye Barnet
(5:10)  9. Latin Schizophrenia
(4:33) 10. Central Park West
(8:26) 11. Twist Of The Wrist

The Midland Youth Jazz Orchestra is now widely acclaimed as one of the U.K’s top big bands. Its reputation has been founded on a consistently high quality of performance over two decades. In addition, audiences find they are infected by the enjoyment which band members bring to performances, and the excitement which the band generates. These qualities have helped bring the band success in the BBC National Big Band Competition, initially during the eighties winning the Youth Section, but latterly being successful in the senior Competition. In fact the band has been unbeaten in the BBC competition since the mid-eighties, although, because of it success, it is now barred for two years from entering, following a win! MYJO has also been a winner in the Dutch National Big Band Competition, beating adult bands from The Netherlands, Germany and Belgium. MYJO has toured extensively, performing at the world famous Montreux Jazz Festival in Switzerland, visiting the USSR and appearing on national TV and performing in Moscow and Odessa. It has also performed in the USA including Disneyworld as well as across Europe.MYJO has twice received awards from the IAJE for Outstanding Services to Jazz Education in Miami, Florida and Toronto, Canada. The band shared the stage with some of the great names of Jazz including the Yellowjackets and Oscar Peterson.Among the other famous venues in which the band has performed are Ronnie Scott’s Club in London, the Royal Albert Hall, the Royal Festival Hall, the Barbican, The Stables Wavendon with founder John Dankworth, and Symphony Hall in Birmingham. The band has appeared on both BBCTV and ITV and on many local and national radio stations.

MYJO has featured in concert with many famous names from the musical world, including Benny Carter, John Dankworth, Bobby Shew, Arturo Sandoval, Bob Florence, Stan Tracey, Jools Holland, and TV chat show host, Michael Parkinson. Many players from MYJO have entered the music profession, and some are becoming well known in their own right. Among these is the now internationally famous trombonist, Mark Nightingale. Several former members of MYJO play regularly for top bands like the BBC Radio Big Band, SLO, Robbie Williams Big Band.  The repertoire of the orchestra is intentionally very broad, and covers virtually the whole period of big band music. In this way Music Director, John Ruddick hopes to make students aware of their musical background. However, at the same time he attempts to develop a more contemporary emphasis to the band’s performance, and seeks a balance between good ensemble playing and exciting soloists, believing that each is essential for a band’s ultimate success. Using its ‘Swing’ library, MYJO also performs at prestigious functions all over the UK, and also plays at many festivals, and conferences. MYJO has returned to its home at the Midlands Arts Centre after it has undergone a multi-million pound refurbishment. Young players rise by audition from MYJO 3 and MYJO TOO!, as places become available. MYJO is a unique organisation by setting challenging standards for young musicians, and developing particular reading skills necessary for this music as well as the foundation skills required for professional music making. http://www.myjo.co.uk/about-myjo/

Twist Of The Wrist

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