Arthur Blythe - Focus

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 62:13
Size: 142,8 MB
Art: Front

(6:52)  1. Opus 1
(3:18)  2. Children's Song aka That Old Man
(4:58)  3. C.C. Rider
(2:53)  4. Once Again
(8:09)  5. My Son Ra
(6:20)  6. Hip Toe
(6:50)  7. Night Song
(3:16)  8. Bubbles
(5:00)  9. Stuffy Turkey
(5:19) 10. Night Creeper
(7:58) 11. In A Sentimental Mood
(1:16) 12. Focus

After what many considered a dry period in the early 1990s, Arthur Blythe gently began his return to alto prominence through exotic collaborations with cellist David Eyges and mallets player Gust William Tsilis. Focus presents one of his most unusual ensembles since the early '80s tuba/cello/guitar quintet. The sparse, foreign sound of this new quartet takes a moment to adjust to, but after a short distance into “Opus 1” (a Blythe original, not the old Sy Oliver chestnut) we are completely sucked in. Tsilis’s tinkly marimba carries the air of the Brazilian rainforest or African veldt but, within the full context of the album, manages to sound comfortably at home. Two obscure Monk tunes, actually expansions of prior art, are assayed here. “Children’s Song,” a recasting of “This Old Man,” is taken slowly and decorated by Blythe’s signature wide vibrato. “Stuffy Turkey,” drawing heavily from Coleman Hawkins’ “Stuffy”, gets the Bourbon Street treatment; Stewart’s vigorous puffing sounds perfectly fitting, and Brooks is sufficiently flexible to negotiate all the different turns this multi-hued album takes. Two duo tracks offer Blythe and friends a chance for more introspective action. “Once Again” is a mysterious duet for Blythe and Tsilis, their lines woven together like a rich textile. As the altoist matches wits with Stewart on “Hip Toe,” they fill in the numerous spaces nicely with spontaneous phrases and thoughtful responses. Only Ellington’s “In A Sentimental Mood” flounders, and significantly so. Blythe’s intonation is quite unsteady at times, and Tsilis mostly noodles with a seeming lack of direction as if he were unfamiliar with the tune. However, Blythe quickly redeems things on the title piece, a too-short solo of impressive lyricism which brings a satisfying end to a most surprising experience. More evidence that Blythe still has plenty of good, creative notions within his expansive mind. ~ Todd S.Jenkins  https://www.allaboutjazz.com/focus-arthur-blythe-savant-records-review-by-todd-s-jenkins.php

Personnel: Arthur Blythe, alto sax; Gust William Tsilis, concert grand marimba; Bob Stewart, tuba; Cecil Brooks III, drums.

Focus

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Lee Konitz - Frescalalto

Styles: Saxophone Jazz 
Year: 2017
File: MP3@320K/s
Time: 50:32
Size: 117,9 MB
Art: Front

(9:35)  1. Stella By Starlight
(6:25)  2. Thingin
(5:17)  3. Darn That Dream
(4:58)  4. Kary's Trance
(7:26)  5. Out of Nowhere
(3:25)  6. Gundula
(9:19)  7. Invitation
(4:02)  8. Cherokee

The whim of the first disc of Impulse! if it is taken to the threshold of the nineties, yet another step in a career that would not be enough to tell two Treccani and their Appendices. A life in jazz as there have been few, and as ever (maybe) there will be, that of Lee Konitz. From the beginning the court of Lennie Tristano 's legendary Birth of the Cool Miles, by Claude Tornhill and Stan Kenton to fraternal association with Warne Marsh , the glittering wonders scattered among the fifties and sixties (put hands and ears least of Motion , in a trio with Elvin Jones and Sonny Dallas ) infinite series of collaborations between the seventies and eighties have made it the absolute giant status ( Satori and Duplicity , published by the Italian Horo, the essential). Until the present day, ECM Angel Song , with Kenny Wheeler , Bill Frisell and Dave Holland , to a brace Blue Note, Alone Together and Another Shade of Blue , the giant Live at Birdland , with Brad Mehldau , Charlie Haden and Paul Motian , and the very recent Costumes Are Mandatory , given to the press thanks to Ethan Iverson , Mr. Bad Plus. It lacked just a Impulse! to complete the priceless collection. Lacuna finally filled with drummer Kenny Washington , which producing Frescalalto has somehow settled a debt contract in 1977, when Konitz wanted him for his nonet spalancandogli for the first time the doors of a recording studio. Four decades later the two are back together with Peter Washington (no relation) and never less than excellent Kenny Barron to complete the quartet. Gregori luxury for a delicious condensate Konitz-thought. Structured around the usual standard punch ( "Stella By Starlight," "Darn That Dream," "Cherokee") and above all the warm tone and sinuous saxophone, in that unmistakable ruling that the weather made it more human, real bewitching. Okay, we are not the parts of the Live at Birdland , and the rhythm section sometimes thinks only keep going without realizing that we would need very different care, greater sensitivity. But heck! Konitz enough. When sounds (Please listen to the joyous reinterpretation of "Out of Nowhere") and even when sudden humming, with the affectionate and approximate pace of those who in life has seen pretty much all. Other percent of these discs Mr. Konitz! ~ Luca Canini https://www.allaboutjazz.com/frescalalto-lee-konitz-impulse-review-by-luca-canini.php

Personnel: Lee Konitz: saxophone (alto) voice; Kenny Barron: piano; Peter Washington: bass; Kenny Washington: drums.

Frescalalto

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Christine Tassan & Les Imposteures - Entre Felix & Django

Size: 131,6 MB

Time: 55:51

File: MP3 @ 320K/s

Released: 2016

Styles: Jazz: Gipsy Jazz, Vocals

Art: Front

01. Entre Felix Et Django (3:02)

02. Le P'tit Bonheur - Minor Swing (3:33)

03. Artillerie Lourde - Les Cent Mille Façons De Tuer Un Homme (4:12)

04. Le Bal - Montagne Sainte-Genevieve (4:40)

05. Tears - Notre Sentier (6:40)

06. Tzigani - Tzigane - Fulginiti (5:35)

07. La Mouche A Feu - Peche A La Mouche (4:24)

08. Reel Des Bottines A Martine - Moi Mes Souliers - Nuits De Saint-Germain-Des-Pres (4:24)

09. Le Tour De L’île - Troublant Bolero (4:37)

10. Mystery Pacific - Le Train Du Nord - Blues Clair (4:47)

11. Melodie Au Crepuscule - L'hymne Au Printemps (3:44)

12. Nuages - Bozo (5:31)

13. Entre Felix Et Django – Epilogue (0:36)

Personnel:
Christine Tassan: lead guitar, rhythm guitar, vocal
Martine Gaumond: violin, podorhythm, back vocal
Lise-Anne Ross: rhythm guitar, back vocal
Blanche Baillargeon: double bass, back vocal

It has been ten years since Christine Tassan et les Imposteures started tending their craft in the gypsy jazz milieu and performing standards, and there is no doubt that they are definitely here to stay. Pioneers in a domain usually reserved for men and precursors of the gypsy wave that swept across Québec, this all-woman quartet continues to reinvent this timeless music while integrating new ideas and influences with an originality and flair we have become familiar with. From standards to original compositions, the Imposteures’ musical arrangements innovate, rejuvenate and leave room for unbridled creativity from four talented and accomplished young women.

Since their inception in 2003 the group has solidified their reputation. With more than 400 concerts in various venues and festivals, including numerous appearances in major events Christine Tassan, Lise-Anne Ross et Blanche Baillargeonand tours across Canada and France, they have cultivated the adoration and loyalty of an ever growing fan base. We have had the chance to see them at the Montreal International Jazz Festival, at the Lévis Jazz Festival, at the Guitar Festival in Rouyn-Noranda, at the April in Paris Vancouver festival and in St-Pierre-et-Miquelon. On two occasions, their show has been taped and broadcasted by CBC Radio as part of the Concerts on demand, in Montreal and Saskatoon. Over the years, the band has shared the stage with illustrious gypsy swing musicians, including John Jorgenson, Tchavolo Schmit, Angelo Debarre, Rodolphe Raffalli and David Reindhart.

In June 2014, they had the great pleasure to be invited at the Django Reinhardt Festival of Samois-sur-Seine (France), one of the most prestigious gypsy jazz festivals since it takes place in the town where the great manouche guitarist lived his last years. In front of more than 2000 enthusiastic people, they stood out with their “finesse” and “joie de vivre” as the very first women and furthermore Québécois gypsy jazz band to perform on this famous stage !

Their first two albums, De bon matin (2007) and Pas manouche, c’est louche (2010), achieved rapid critical acclaim. Only a few weeks after it was released, De bon matin went to the top of Radio-Canada’s Coup de Coeur hit list and reached number one on the Radio Couleur Jazz top 4. In turn, Pas manouche, c’est louche was nominated for Best Jazz Album Creation at the ADISQ awards, alongside other great artists such as Jordan Officer, Julie Lamontagne and Christine Jensen.

On stage, we bear witness to four musicians who have mastered their talents. They improvise with ease, interpret their repertoire with dynamism, and blend their voices together in refined harmonies. But it’s their communicative energy and the personal bondBlanche Baillargeon, Martine Gaumond et Lise-Anne Ross between them that hits home the most. Christine Tassan et les Imposteures, are first and foremost four friends who have harnessed their energies and their voices to give rise to, year after year, the fruit of their creativity.

Their third album, released in October 2012, follows in the same lively spirit. Like its two predecessors, it weaves together a clever mix of original compositions and standards, songs and instrumental pieces. The album brims with a ripe confidence that clearly reveals the evolution of the group. C’est l’heure de l’apéro marks the beginning of a new chapter for Christine Tassan et les Imposteures, who are once again touring Québec, Canada and the world to showcase their new sparkling and savory show.

Entre Felix & Django 

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Simone Kopmajer - Good Old Times

Size: 109,0 MB
Time: 46:53
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Till There Was You (3:56)
02. Lost In Love (4:20)
03. Reality (4:37)
04. Heart Of Gold (3:06)
05. That's Why (You Go Away) (3:22)
06. First Of May (4:25)
07. You're My Everything (5:08)
08. Have I Told You Lately (5:38)
09. Have You Ever Seen The Rain (3:35)
10. Lost Stars (4:20)
11. The Morning Sun (4:22)

"Good Old Times" is Simone´s new solo album in the spirit of her bestseller "Nothing´s Gonna Change". The album features guitarist Jean-Paul Bourelly, pianist Paul Urbanek, bassist Jamaaladeen Tacuma and drummer Reinhardt Winkler on a 11 song set that presents covers by Neil Young, The Bee Gees, Van Morrison and many more.

The Good Old Times

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Cindy Bradley - Natural

Size: 112,7 MB
Time: 48:13
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Smooth Jazz
Art: Front

01. Girl Talk (4:06)
02. Category A (4:19)
03. Everyone But You (5:10)
04. Vibralux (4:10)
05. Imagine That (4:55)
06. Clean Break (4:28)
07. Natural (4:11)
08. Bring It Back (4:34)
09. She Bop (4:37)
10. Crush (3:19)
11. Coco's Lullaby (4:18)

Flugelhorn and trumpet really rock her boat. Cindy Bradley left some imposing traces in the sand of the smooth jazz genre with Just A Little Bit (2007), Bloom (2009), Unscripted (2011) and Bliss (2014). Natural (2017) is her fourth album in connection with the label Trippin' n' Rhythm.

The set opens with Girl Talk, a funky exchange of blows between Cindy on trumpet and Paula Atherton on sax. Sax veteran Paula had invited Cindy on her fourth album Ear Candy (2015) and the opening track is according to the principle of mutuality a great thank-you with positive effect.

On Category A Cindy works together with outstanding guitarist Chris Standring, who has a superb knack for the perfect sonic twist. Music lovers will recognize parallels to groundbreaking pieces of pop history. Everyone But You touches a romantic chord within the listener with unadulterated sound of the flugelhorn and an acoustic guitar of classical characteristic.

The meaning of the title Vibralux will be revealed, when one mingles vibrancy, the quality of being vibrant, with lux, the derived unit of luminance or illumination. The magical formula of discovering shining music. Imagine That merges symbiotically flugelhorn with horn harmonies and out of this rises the sound of sax. The epitome of trumpet and sax in a creation of sonic balance.

Clean Break is continually evolving from a disco like stomping beat to a funky bridge. Bradley breaks out from the closed manege of rhythm and enjoys the sensation of artistic freedom. Natural is constructed with funk components, David Mann's exquisite horn arrangement, Cindy's cool muted trumpet and Chris Standring's special UK guitar flavor.

Bring It Back shows Cindy's great talent as a compositional storyteller. A muted trumpet in a sonic flow closely entwined with Nick Colionne's guitar performance. She Bop bridges the gap between Bebop jazz, swing and contemporary jazz stretching the limits of these genres with an inventive sound and a modern spin.

Crush is crisp and definitely right in the groove. This well-balanced tune with a bouncy melody creates the perfect mood for every occasion. Coco's Lullaby is flugelhorn in best hummable harmony. A quiet engaging creation hook-filled with an emotional impact.

Beauty, elegance, and a quiet grace infuses distinct artistic individuality into melodies. Natural is one of those rare works of art having body, soul, and spirit.

Natural

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Jan Daley - The Way Of A Woman

Size: 102,0 MB
Time: 41:33
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals, Smooth Jazz
Art: Front

01. Come On Daddy (3:00)
02. The One I've Been Waiting For (4:07)
03. The Way Of A Woman (3:48)
04. Cry Me A River (3:42)
05. Something Old Something New (4:43)
06. She Was A Dreamer (4:10)
07. God Bless The Child (4:23)
08. More Love (4:11)
09. Skylark (2:44)
10. When Sunny Gets Blue (3:48)
11. I Love You Tonight (2:52)

Adored for her singular magic for making what’s classic contemporary again, Jan Daley is the most multi-talented and beautiful Best Kept Secret in entertainment today. The triple-threat singer/songwriter, actress and playwright connects to audiences worldwide with her authentic, personal presentations couched with just the right amount of razzle dazzle to remind you why she’s at center stage.

As usual, Jan is currently juggling projects in various performance arenas. Her top priority is a new jazz-kissed easy listening EP When Sunny Gets Blue. The title track is her smoky rendition of the classic ballad co-authored by her one-time songwriting teacher Jack Segal (with Marvin Fisher), introduced by Johnny Mathis with the Ray Conniff Singers and later recorded by many including Nancy Wilson, Anita O’Day and Kenny Rankin. Jan’s version, which co-produced and co-arranged with Segal himself before he passed away, is buttery smooth and drenched in sexy saxophone and is receiving glowing nods at smooth jazz radio.

Reflecting on Daley’s artistic excellence, Jack Segal assessed, “Jan is a truly talented musician, singer and lyricist. Her marvelous voice is selectively controlled and her intonation is immaculate.”

Jan Daley’s new CD “The Way of a Woman” is a testimony to the ups and downs of being in and out of love. An experience many woman can relate to says Jan. This 11-song set contains five tracks from her previous EP, and 6 new tracks that are all embellished with Jan’s flawless delivery of each and every note. On this CD you will find a new additive to her versatility – Sensousness!

The Way Of A Woman

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Judy Niemack & Dan Tepfer - Listening To You

Size: 108,1 MB
Time: 46:38
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. There Will Never Be Another You (5:09)
02. Listening To You (4:06)
03. Body And Soul (5:45)
04. Like A Butterfly (4:14)
05. You've Taken Things Too Far (5:20)
06. When Chick Came Around (4:21)
07. You're My Thrill (5:44)
08. Epistrophy (5:43)
09. All The Things You Are (6:12)

Personnel:
Judy Niemack - vocals
Dan Tepfer - piano

Jazz aficionados are often concerned with lineages within the music and the passing of the torch. There aren’t many musicians left who have witnessed and assisted in the development of jazz and improvised music as much as saxophonist Lee Konitz has. From the height of bebop to the current avant-garde, Konitz has established himself as a cornerstone and link between many adventurous musicians.

Two such musicians are vocalist extraordinaire Judy Niemack and the exceptional pianist Dan Tepfer. Both have been fortunate enough to play and collaborate with the legendary saxophonist. It was only natural that Niemack and Tepfer would find such a rapport when they finally met via Konitz. It took the duo no time to be at ease with each other and to pursue a lively recording, entitled Listening To You.

Niemack stands apart as one of her generation’s most celebrated vocalists. She is originally from California; her jazz studies began with saxophonist Warne Marsh, who famously studied and performed with piano polymath Lennie Tristano along with Konitz. Niemack moved to New York City in the late 1970s and began to make a name as a vocalist, writing lyrics for and collaborating with many well-known musicians, including Pat Metheny, Kenny Barron, Don Grolnick, Toots Thielemans, Mike Stern, and Konitz.

Dan Tepfer has become an important figure in his generation’s developments within the worlds of jazz, modern classical and improvised music. His path within jazz crossed with Konitz very early on, whereby he established a long-running collaboration with the saxophonist.

Niemack and Tepfer’s first encounter came when Tepfer and Konitz were in Berlin for a performance. While keeping a home in New York, Niemack had been teaching for many years at the Jazz Institut Berlin, and she always made the effort to hear Konitz when he performed nearby, allowing the singer and the pianist an opportunity to be introduced in this instance. In the Spring of 2012, Tepfer returned to Berlin where he met up with Niemack to rehearse at the Jazz Institut.

In September 2012, Niemack invited Tepfer to record at Acoustic Recording in Brooklyn, New York, for her first recording in nine years. There was a special emphasis on improvisation, interpretation and taking chances during the proceedings, as Niemack has always advocated the role of the vocalist as a musician. The duo took on a number of the standards they had rehearsed in Germany, though maintaining a playfulness throughout the session. The musicians relied on pure improvisation, though letting the lyrics retain their message. Tepfer doesn’t accompany as much as interact in time to Niemack. Listeners can hear the incredibly creative treatments from Tepfer and the joy that both brought to the recording.

The program begins with a light but insistent take on Harry Warren and Mack Gordon’s “There Will Never Be Another You.” Konitz’s “Listening To You” is based on the chord changes of “All The Things You Are” and features lyrics Niemack wrote at the saxophonist’s request, which she turned into a tribute to Konitz. Tepfer and Niemack perform a lilting version of the chestnut “Body and Soul,” which is followed by “Like a Butterfly,” a piece written by her friend, pianist Ronnie Mathews; Niemack’s original lyrics describe the carefree dancing of a young girl whose responsibilities are yet to come.

Niemack’s bittersweet “You’ve Taken Things Too Far” is about taking stock after the dissolution of a relationship and coming to unexpected realizations about love. “When Chick Came Around” is another composition by Konitz with lyrics by Niemack that heralds the work of the great pianist Chick Corea. Niemack revisits Gorney and Clare’s “You’re My Thrill,” with pathos and drama, having originally recorded it with Cedar Walton on her first recording. The extemporary version of Monk and Clarke’s “Epistrophy” is a true revelation and testament to the duo’s singularity. The program concludes with Kern’s “All The Things You Are,” a beautiful sendoff.

How better to celebrate one of the most creative and exploratory musicians jazz has been blessed with? Niemack and Tepfer are two fully developed, exemplary musicians regardless of instrument, who find a way to make music resonate and creativity blossom, as their hero Lee Konitz has done for decades. Listening To You is a wonderful example of the legacy being passed and beauty being made in its honor.

Listening To You

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Kenny Dorham - Whistle Stop (Remastered)

Bitrate: MP3@320K/s

Time: 38:29

Size: 88.1 MB

Styles: Bop, Trumpet jazz

Year: 2000

Art: Front

[5:36] 1. Philly Twist

[7:38] 2. Buffalo

[6:18] 3. Sunset

[5:54] 4. Whistle Stop

[5:37] 5. Sunrise In Mexico

[6:15] 6. Windmill

[1:08] 7. Dorham's Epitaph

Bass – Paul Chambers; Drums – Philly Joe Jones; Piano – Kenny Drew; Tenor Saxophone – Hank Mobley; Trumpet – Kenny Dorham. Recorded January 15, 1961 at the Van Gelder Studio, Englewood Cliffs, New Jersey. All transfers from analog to digital were made at 24-bit resolution.

This 1961 date is one of the genuinely classic Blue Note hard-bop sessions. Trumpeter Dorham is joined by tenor saxophonist Hank Mobley, once his frontline partner in the original Jazz Messengers, the underrated pianist Kenny Drew, and one of the finest rhythm teams ever to play jazz, bassist Paul Chambers and drummer Philly Joe Jones. The immediate distinguishing mark is Dorham's writing. Though only his "Blue Bossa" has become a jazz standard, he was a serious writer, not someone who merely dashed off casual heads. His tunes here have substance, like the sparkling blues "Buffalo" and the evocative, modal "Sunset" with its sudden piano punctuations under the theme. The title tune contrasts eerie dissonance with a snapping bop line, and "Sunrise in Mexico" orchestrates bass and piano into the theme. The concluding "Dorham's Epitaph," at little more than a minute, has an unadorned majesty. Dorham and Mobley shared a forceful lyricism and a rare camaraderie, and there are moments in "Sunrise" when Dorham's half-valves even suggest Mobley's round tenor sound. Jones makes a special contribution, adding a propulsive spark and a constant stream of detail. --Stuart Broomer

Whistle Stop                 

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Brennen Ernst - Blue Skies

Bitrate: MP3@320K/s
Time: 48:05
Size: 110.1 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[3:38] 1. Blue Skies
[2:58] 2. Ain't She Sweet
[6:16] 3. On A Slow Boat To China
[4:07] 4. Arty Missy Candy Fishy Georgia Yancey Barntown Williams Rag
[4:15] 5. Alabamy Bound
[4:45] 6. Tenderly
[3:15] 7. Djangology
[3:22] 8. Lazy River
[4:41] 9. Minor Swing Dark Eyes
[4:09] 10. C Jam Blues
[3:37] 11. Cherokee
[2:55] 12. I'll See You In My Dreams

Brennen Ernst - guitar; Taylor Baker - mandolin; Casey Driscoll - fiddle; Anders Eliasson - drums; Danny Knicely - 2nd guitar, 2nd mandolin; Ralph Gordon - bass; Tom Mindte - 3rd mandolin & vocal.

Brennen Ernst is a multi-instrument, multi-genre phenom who studies and performs music composed and recorded in the first half of the twentieth century. His interests and expertise include bluegrass, country, jazz, ragtime, western swing, old time Appalachian music and classic banjo. Brennen’s first instrument, which he started on at age five, was piano. From the beginning, he was drawn to the older American styles on the instrument. He performed ragtime pieces at the Takoma Park JazzFest in Maryland at age thirteen. A year later, Brennen took up the five-string banjo, immediately homing in on the styles of Earl Scruggs, Don Reno and Dock Boggs, innovators of their respective days. Next came guitar, Django first, of course, then Eddie Lang, George Barnes and many more.

Brennen doesn’t imitate any of the above named musicians. He incorporates all of their styles, plus a whole lot of other music that has come to his ear, into a unique brand of his own. I have heard him play Benny Goodman licks on the banjo, as well as a Fiddlin’ Arthur Smith tune on the Piano. Already working full-time in music, Brennen plays five-string banjo in The Karl Shiflett and Big Country Show, a Texas bluegrass band. He also plays jazz guitar with Seattle based pianist Solomon Douglas. ~Tom Mindte

Blue Skies

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Ray Anthony - Capitol Collectors Series

Bitrate: MP3@320K/s
Time: 58:48
Size: 134.6 MB
Styles: Easy Listening
Year: 1991/1998
Art: Front

[3:09] 1. A Dreamer's Holiday
[2:49] 2. Sentimental Me
[3:01] 3. Count Every Star
[2:28] 4. The Man With The Horn
[3:04] 5. Can Anyone Explain No No No
[2:32] 6. Harbor Lights
[2:45] 7. Nevertheless (I'm In Love With You)
[2:46] 8. Autumn Leaves
[2:32] 9. Mr. Anthony's Boogie
[2:57] 10. At Last
[5:51] 11. Slaughter On Tenth Avenue (Parts 1 & 2)
[2:04] 12. Marilyn
[2:55] 13. The Bunny Hop
[3:11] 14. The Hokey Pokey
[2:50] 15. Dragnet
[2:43] 16. O Mein Papa
[2:19] 17. Skokiaan
[3:04] 18. Melody Of Love
[1:49] 19. The Peter Gunn Theme
[2:36] 20. Worried Mind
[1:15] 21. Telephone Interview

Anthology covering the biggest hits of Ray Anthony, a former trumpeter in the Glenn Miller orchestra. His orchestra skirted the edges of swing, but did little improvising and weren't a jazz group. They were among the most popular "sweet" bands and made some entertaining songs, including the theme for the original "Dragnet" television show and "Dancing In The Dark." ~Ron Wynn

Capitol Collectors Series

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Katie Cruel - The Roving Jewel

Bitrate: MP3@320K/s
Time: 53:31
Size: 122.5 MB
Styles: Folk
Year: 2017
Art: Front

[4:14] 1. I See You
[3:43] 2. Red Is The Color Of My Car
[5:48] 3. M'ka Mar Malli Per Nenen Time
[4:12] 4. Katie Cruel
[5:06] 5. In A Different Way
[2:24] 6. In The Carolinas
[3:46] 7. Be My Pine Tree
[4:01] 8. Come On In My Kitchen
[5:14] 9. Viola
[2:16] 10. World Of Dew
[3:08] 11. Lady Luck Blues
[4:43] 12. Sonata
[4:49] 13. Dream

Who is Katie Cruel? A real person? The pseudonym of an artist? Neither one. This is the title of a folk song from the last century, which came to America via Scotland during the period of the Civil War. It deals with a mysterious woman whose social behavior did not necessarily coincide with social norms. However, that is precisely the reason why it is unique and difficult to define.

The musical liaison between the American guitarist Geoff Goodman and the Albanian singer Fjoralba Turku is also called "Katie Cruel” now. As a result, fruitful and successful collaboration of many years has finally found an appropriate name. Not like those jazz bands who call themselves after the initiator of the respective project and then add a conservative term such as "Quartet", "Trio" or "Duo" behind it. Or those who want to appear smart, trendy and modern and give their ensemble a peppy, garnish name. No, simply Katie Cruel. It fits. It directs you neither to this nor that pigeonhole, because Goodman and Turku are also actually unique in their own way, do not fit into any pre-conceived pattern and their musical philosophy is even more difficult to define than previously, especially just after their debut CD "The Roving Jewel".

Wait a second! Debut CD? "Yes in a sense," Geoff Goodman winked, knowing that both already have a common recording on CD shelves with "At The Middle" (Tutu). "But that was three years ago," Fjoralba Turku explained. "A lot has happened since then. I have evolved further as a singer, approach music much more freely and consequently can produce more colors and stories than before." Goodman suspects that some people could possibly consider "Katie Cruel” as a farewell to his previously way taken as a jazz guitarist. “But exactly the opposite is the case! These songs signify a kind of homecoming for me. All the musical influences in it are rooted deep inside me." The view into the innermost actually initially discloses incompatible recipes, but surprisingly well tolerated after a short time together; they flow into each other, begin to come together, even make you enthusiastic at some time, overpower and captivate you. Turku and Goodman naturally put traditional American folk songs and blues from the South alongside Albanian, Greek or Turkish folklore. Startled listeners realize with shivers down their spine how gently sparkling pop harmonies, powerful rock metrics or jazz settle similar loops in all open structures. The finely balanced playing of the violinist Max Grosch helps accomplish this and contributes a melancholy depth with his instrument on four songs.

The Roving Jewel

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Sonny Criss - Criss Craft

Bitrate: MP3@320K/s
Time: 32:32
Size: 74.5 MB
Styles: Bop, Saxophone jazz
Year: 1997/2009
Art: Front

[10:30] 1. The Isle Of Celia
[ 5:59] 2. Blues In My Heart
[ 4:54] 3. This Is For Benny
[ 4:00] 4. All Night Long
[ 7:07] 5. Crisscraft

Bass – Larry Gales; Drums – Jimmie Smith; Guitar – Ray Crawford; Piano – Dolo Coker; Saxophone [Alto] – Sonny Criss. Recorded at Wally Heider Studio, Hollywood, CA. February 24, 1975.

This is one of the very best Sonny Criss albums. The distinctive altoist, who is here joined by guitarist Ray Crawford, pianist Dolo Coker, bassist Larry Gales, and drummer Jimmie Smith, is in prime form on a lengthy "The Isle of Celia," Benny Carter's "Blues in My Heart," the boppish blues "Crisscraft," and two shorter pieces. Criss, who had not recorded as a leader in six years, was really ready for this session, making this his definitive set to get. ~Scott Yanow

Criss Craft

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Jeremy Pelt & Wired - Shock Value - Live At Smoke

Styles: Trumpet Jazz
Year: 2007
File: MP3@224K/s
Time: 65:01
Size: 104,8 MB
Art: Front

( 8:21)  1. Circular
(12:15)  2. Blues
(12:41)  3. Suspicion
( 6:33)  4. Cause
( 8:52)  5. PythagorUs
( 6:54)  6. Beyond
( 9:22)  7. Scorpio

Imagine a sacred Shinto sand garden beautifully divided up into all of the genres of jazz, rock, and blues. Interconnections between the genres and subgenres are carefully documented, after having been fully researched and verified. Now visualize trumpeter Jeremy Pelt dragging his horn through this garden, marginally alongside a similar set of tracks left by Miles Davis thirty-five years ago. This provides a visual image of Jeremy Pelt and his band WiRED at their March 21-22, 2007 appearance at New York City's Smoke. Pelt is one of the few trumpeters exploring Miles' post-In A Silent Way (Columbia, 1969) period, as opposed to the majority of leaders who have been content to mine the master's second great quartet period. In fact, Pelt and his band sound very much like Miles' transitional combo heard on Live at the Fillmore East (March 7, 1970): It's About That Time (Legacy, 2001), that featured Chick Corea, Dave Holland and Jack DeJohnette, except Pelt is way better behaved and more enjoyable to listen to. The disc is comprised of Pelt originals, with one exception, all very different, all very compelling listening. The highlights are a lengthy blues where Pelt has no fear of playing his horn through a compression-wah pedal. Pelt's solos, along with guitarist Al Street, make this blues less about jazz and more about blues. It is a nice throw-back touch in a more forward-looking program of music. Pelt follows the blues with the hypnotic "Suspicion, where the band solos over a very simple harmonic figure repeated over and over, recalling Miles lengthy electric funk excursions. Pelt shares composing duties with vocalist Becca Stevens, who provides lyrics to Pelt's "Cause. The musical effect is narcotic and the sound, performance and approach fresh. The ballad "Beyond, by Derek Nievergelt, shows Pelt more than capable of the straight-ahead. In all, a superb disc by a young artist. ~ C.Michael Bailey https://www.allaboutjazz.com/shock-value-live-at-smoke-jeremy-pelt-maxjazz-review-by-c-michael-bailey.php?width=1920
 

Personnel: Jeremy Pelt: trumpet, flugelhorn, effects; Frank LoCrasto: Fender Rhodes electric piano, Hammond B3 organ, effects; Gavin Fallow: double-bass, electric bass; Dana Hawkins: drums; Al Street: electric guitar; Becca Stevens: vocals (4).

Shock Value - Live At Smoke

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Keith Copeland - Round Trip

Styles: Jazz, Post Bop
Year: 1996
File: MP3@320K/s
Time: 65:19
Size: 150,0 MB
Art: Front

( 7:51)  1. Round Trip
( 6:35)  2. November 17
( 5:52)  3. Tricotism
( 9:23)  4. You Don't Know What Love Is
( 5:05)  5. My Shining Hour
(11:07)  6. Minor Infringement
( 5:27)  7. Prism
( 3:29)  8. 'Round About Midnight
(10:25)  9. Resolution

This is drummer Copeland’s second outing in the company of guitarist Tommy Halferty and bassist Ronan Guilfoyle, whom Copeland met in 1992 on his first teaching excursion to Ireland. The affinities the three recognized in one another are very much in evidence here, as the trio picks its way through nine compositions, including two by Guilfoyle, on their second release for SteepleChase. Guilfoyle’s pieces are the product of an enterprising ear: atmospheric, harmonically adventurous, with an attractively ambiguous ease about them. Guilfoyle also leads the way into Oscar Pettiford’s “Tricotism,” which shows the trio are no strangers to the straightahead. The set concludes with a striking pairing of Monk’s “‘Round Midnight,” taken at a blistering tempo, and Coltrane’s “Resolution.” Copeland establishes the tone of the set with his brightly swung work on Ornette’s “Round Trip;” Halferty occasionally mists his tone with a touch of chorus, but keeps his work clearly focused on the changes. ~ Bill Bennett https://jazztimes.com/reviews/albums/keith-copeland-round-trip/

Personnel:  Keith Copeland – drums;  Tommy Halferty – guitar;  Ronan Guilfoyle - bass

Round Trip

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Arthur Blythe - Calling Card

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 72:06
Size: 166,1 MB
Art: Front

( 8:31)  1. As of Yet
( 8:48)  2. Blue Blues
( 9:02)  3. Naima's Love Song
( 7:20)  4. Hip Dripper
( 9:51)  5. Odessa
(14:51)  6. Elaborations
( 7:16)  7. Jitterbug Waltz
( 6:24)  8. Break Tune

Recorded live at the Village Vanguard in 1993 (as was the very fine Retroflection, Calling Card presents Arthur Blythe with traditional jazz accompaniment. Each of the musicians is sensitive and focused throughout, most notably John Hicks with his light, deft keyboard phrasing. Blythe is in excellent form on every track, displaying his penchant for bridging genres and styles with surprising acuity. "Blue Blues" evokes a smoky, Coleman Hawkins-like lyricism, while the shimmering "Naima's Love Song" captures a bit of Coltrane's ghost. Blythe's tone, which is strong and sinuous, is entirely his own and his improvisatory skill, among the best in contemporary jazz, is given full reign in these stretched-out arrangements. Fans of Blythe's early, avant-garde material may be surprised at the straightforward, largely traditional nature of this set--there's even a breezy Fats Waller cover in "Jitterbug Waltz." Even the edgier, more abstract pieces, such as "Odessa" and "As of Yet," are rendered with a delicacy and warmth that lends them an immediate accessibility. No matter what Blythe does--be it traditional jazz or avant garde exploration--his work always bears the mark of brilliance, and Calling Card is no exception. http://www.allmusic.com/album/calling-card-mw0000184010

Personnel: Arthur Blythe (alto saxophone); John Hicks (piano); Cecil McBee (bass); Bobby Battle (drums).

Calling Card

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Ella Fitzgerald - Ella Fitzgerald Sings The Irving Berlin Song Book (2-Disc Set)

It is difficult to know where to begin when approaching an artist as wonderful as Ella Fitzgerald, especially when covering a revered recording like Sings the Irving Berlin Song Book from the late '50s. This set includes two CDs with 32 songs chosen from Berlin's collection of nearly 800 songs. These selections are perfectly suited for Fitzgerald's voice and her romantic sensibility; they are happy, occasionally sad, and full of swinging rhythm. A few of these songs -- "Cheek to Cheek," "Puttin' on the Ritz," and "Blue Skies" -- will be most familiar; others, "Top Hat, White Tie, and Tails," "Russian Lullaby," and "All By Myself" are as memorable but perhaps less known. Choices like "Isn't This a Lovely Day?" feature everything a listener would want in a song: intelligent lyrics, memorable melodies, and a strong emotional center. To say that Fitzgerald is in good voice for these recordings would be an understatement; her presentation here is simply regal. It should be pointed out that these two- and three-minute tunes are tightly arranged, and don't allow the freedom of extended scat singing as on Ella in Berlin. The arrangements are also lovely, featuring the tasteful support of Paul Weston & His Orchestra, which never overpowers Fitzgerald. Such songs as "Cheek to Cheek" and "How Deep Is the Ocean?" -- the standards that once dominated singers' repertoires -- seem absent from today's musical scene. That may be unfortunate, but they continue to live healthy lives in recordings like this one. For fans who have enjoyed other songbook recordings, this reissue is a must-have; for those unfamiliar with Fitzgerald's songbook work, this is an excellent place to start. ~Ronnie D. Lankford Jr.

Album: Ella Fitzgerald Sings The Irving Berlin Song Book (Disc 1)
Bitrate: MP3@320K/s
Time: 46:40
Size: 106.8 MB
Styles: Jazz vocals
Year: 1958/2008

[2:54] 1. Let's Face The Music And Dance
[3:18] 2. You're Laughing At Me
[2:20] 3. Let Yourself Go
[3:43] 4. You Can Have Him
[1:55] 5. Russian Lullaby
[2:14] 6. Putting On The Ritz
[3:49] 7. Get Thee Behind Me Satan
[2:40] 8. Alexander's Ragtime Band
[2:36] 9. Top Hat, White Tie, And Tails
[3:14] 10. How About Me
[3:44] 11. Cheek To Cheek
[2:29] 12. I Used To Be Color Blind
[2:36] 13. Lazy
[3:07] 14. How Deep Is The Ocean (How High Is The Sky)
[2:25] 15. All By Myself
[3:27] 16. Remember

Ella Fitzgerald Sings The Irving Berlin Song Book (Disc 1)

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Album: Ella Fitzgerald Sings The Irving Berlin Song Book (Disc 2)
Bitrate: MP3@320K/s
Time: 47:19
Size: 108.3 MB
Styles: Jazz vocals
Year: 1958/2008
Art: Front

[3:19] 1. Supper Time
[2:45] 2. How's Chances
[2:21] 3. Heat Wave
[3:30] 4. Isn't This A Lovely Day
[3:31] 5. You Keep Coming Back Like A Song
[2:15] 6. Reaching For The Moon
[2:20] 7. Slumming On Park Avenue
[2:26] 8. The Song Is Ended
[3:01] 9. I'm Putting All My Eggs In One Basket
[3:13] 10. Now It Can Be Told
[3:05] 11. Always
[2:24] 12. It's A Lovely Day Today
[3:14] 13. Change Partners
[3:04] 14. No Strings (I'm Fancy Free)
[3:00] 15. I've Got My Love To Keep Me Warm
[3:44] 16. Blue Skies

Ella Fitzgerald Sings The Irving Berlin Song Book (Disc 2)

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Nat Adderley & The Big Sax Section - That's Right!

Bitrate: MP3@320K/s

Time: 37:57

Size: 86.9 MB

Styles: Bop, Soul-jazz

Year: 1960/1993

Art: Front

[3:56] 1. The Old Country

[6:10] 2. Chordnation

[4:15] 3. The Folks Who Live On The Hill

[4:17] 4. Tadd

[4:16] 5. You Leave Me Breathless

[2:28] 6. Night After Night

[3:49] 7. E.S.P

[8:43] 8. That's Right!

Alto Saxophone – Julian "Cannonball" Adderley; Baritone Saxophone – Tate Houston; Bass – Sam Jones; Cornet – Nat Adderley; Drums – Jimmy Cobb; Flute – Yusef Lateef; Guitar – Jim Hall; Oboe – Yusef Lateef; Piano – Wynton Kelly; Tenor Saxophone – Charlie Rouse, Jimmy Heath, Yusef Lateef. Recorded Aug. 9 and Sept., 1960.

One of cornetist Nat Adderley's best early albums, That's Right has eight selections (seven of which were arranged by Jimmy Heath) that feature Nat with five saxophonists (altoist Cannonball Adderley, baritonist Tate Houston, and the tenors of Yusef Lateef, Jimmy Heath, and Charlie Rouse), and a rhythm section led by pianist Wynton Kelly. Despite Cannonball's presence, this is very much Nat's date (the altoist has just one solo), although there is some ample solo space for the three tenors. Highlights include Nat's memorable original "The Old Country," a touching version of "The Folks Who Live on the Hill," and "You Leave Me Breathless." Recommended. ~Scott Yanow

That's Right! 

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Jaz Sawyer - Jaz Sawyer Presents After Hours Vol 1

Bitrate: MP3@320K/s
Time: 56:23
Size: 129.1 MB
Styles: Contemporary jazz
Year: 2010
Art: Front

[7:34] 1. Cyclic Episode
[4:27] 2. Groovin' With Grewen
[6:14] 3. Namibia
[5:21] 4. Closer So In Love With You
[4:58] 5. Broadway
[1:41] 6. Lucky Guy
[4:20] 7. Mary Lou
[7:43] 8. What Is This Thing Called Love
[5:29] 9. Sweet Dulcinea Blue
[8:32] 10. The Oracle

Jaz Sawyer (with one “Z”) began playing drums at age of 2 in the Haight Ashbury district of San Francisco, California. His musical studies has taken him through the music programs at the Ruth Asawa School of the Arts, San Francisco Conservatory of Music, Stanford Jazz Workshop and The New School for Jazz and Contemporary Music.

Jaz possesses an eclectic and refined personal style of drumming that stems from his deep roots in his Classical, Jazz, West-African and Afro-Caribbean musical training. Jaz has worked with many notable artists, including Wynton Marsalis, Abbey Lincoln, George Benson, Bobby Hutcherson, Jacky Terrasson and Dee Dee Bridgewater in some of the world’s premier concert venues, including The Blue Note, The Village Vanguard, Carnegie Hall, Lincoln Center, Kennedy Center and the Sydney Opera House.

Jaz Sawyer Presents After Hours Vol 1

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Ray Charles - The Ray Charles Story Vols 3 & 4

Album: The Ray Charles Story Vol 3
Bitrate: MP3@320K/s
Time: 38:42
Size: 88.6 MB
Styles: R&B
Year: 2005
Art: Front

[3:21] 1. Sinner's Prayer
[3:17] 2. Funny But I Still Love You
[2:47] 3. Feelin' Sad
[2:53] 4. Hard Times (No One Knows Better Than I) (R&b)
[2:34] 5. What Would I Do Without You
[2:27] 6. I Want To Know
[2:38] 7. Leave My Woman Alone
[2:14] 8. It's Alright
[2:25] 9. Get On The Right Track
[2:43] 10. That's Enough
[2:52] 11. I Want A Little Girl
[2:28] 12. You Be My Baby
[2:50] 13. I Had A Dream
[3:07] 14. Tell The Truth

The Ray Charles Story Vol 3

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Album: The Ray Charles Story Vol 4
Bitrate: MP3@320K/s
Time: 40:53
Size: 93.6 MB
Styles: R&B
Year: 2005
Art: Front

[2:20] 1. Blackjack
[2:55] 2. Alexander's Ragtime Band
[2:58] 3. I Believe To My Soul
[2:17] 4. A Bit Of Soul
[2:49] 5. Greenbacks
[3:40] 6. Undecided
[2:47] 7. When Your Lover Has Gone
[2:41] 8. It Had To Be You
[2:45] 9. Early In The Morning
[2:50] 10. Heartbreaker
[2:53] 11. Music, Music, Music
[2:43] 12. Tell Me How Do You Feel
[3:52] 13. In A Little Spanish Town
[3:18] 14. You Won't Let Me Go

The Ray Charles Story Vol 4

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Art Farmer - The Meaning Of Art

Bitrate: MP3@320K/s

Time: 50:11

Size: 114.9 MB

Styles: Bop, Trumpet jazz

Year: 1995

Art: Front

[ 5:17] 1. On The Plane

[ 7:04] 2. Just The Way You Look Tonight

[ 5:18] 3. Lift Your Spirit High

[ 6:30] 4. One Day Forever

[10:35] 5. Free Verse

[ 7:48] 6. Home

[ 7:36] 7. Johnny One Note

Webster's Dictionary would define the meaning of Art Farmer as "a cool, swinging, mainstream, jazz trumpeter and bandleader," but that only partially describes what Farmer does on this CD. His approach is a democratic one -- solos to his bandmates, doled out liberally, are concise. Melodic intent is utmost in his mind, and swinging is a prerequisite, not a duty. Trombonist Slide Hampton is an equal partner during the entire set, whether as an ensemble player, soloist, composer, or arranger, and pianist Geoff Keezer kicks everything up a notch, especially when he is featured. Saxophonist Ron Blake, bassist Kenny Davis, and drummer Carl Allen give great support without flash. The two most up-tempo numbers are the frantic "Johnny One Note," (Keezer is livid with passion in modal and latin frames), and the Hampton-penned bopper "Lift Your Spirit High," which typifies this set, ostensibly, as a jam session. Head follows a succession of solos consistently throughout the seven selections. A slight similarity to "Daahoud" informs the melody of Hampton's "On the Plane," with everybody soloing. A relaxed and reserved swing typical of Farmer identifies "Just the Way You Look Tonight," while a loping melody leads to solos ad hoc in extensia for the ten-and-a-half-minute Keezer composition, "Free Verse," which finds Blake switching from his usually lurid, sweet tenor, to a more edgy soprano saxophone. There's a certain urgency to Benny Golson's ballad "One Day Forever," and this is where Farmer shines -- his round, distinct trumpet sounds clear as a bell, against Keezer's piano, nodding in approval. The most singing melody has Farmer and Hampton in melodic unison for Fritz Pauer's "Home," an easy, bluesy, swinger. This is jazz that is relatively cliché and quote-free; not groundbreaking, but a consistent, professional effort. The release is a testimony to Farmer's endurance as one of the truly great jazz musicians of the late 1900s. Recommended. ~Michael G. Nastos

The Meaning Of Art 

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