Robin Eubanks, Steve Turre - Dedications

Styles: Trombone Jazz
Year: 1989
File: MP3@320K/s
Time: 50:08
Size: 115,1 MB
Art: Front

(6:22)  1. The New Breed
(6:11)  2. V.O.
(6:33)  3. Red, Black and Green Blues
(6:43)  4. Trance Dance
(5:03)  5. Perpetual Broove
(7:16)  6. Especially for You
(5:02)  7. Koncepts
(6:55)  8. Victory

This CD teams together two of the brightest young trombonists of the period, Robin Eubanks and Steve Turre. The music covers a wide area with "The New Breed" placing the horns over a complex 7/4 funk rhythm (with pianist Mulgrew Miller making his recording debut on synthesizer), "V.O." being a modern Latin original, "Red, Black & Green Blues" featuring the band jamming on a blues reminiscent of the Jazz Messengers and "Trance Dance" evolving from a free form introduction to a nearly impossible-to-play solo section (with 45 beats every four bars). The funky "Perpetual Groove" is succeded by a ballad dedicated to Woody Shaw, the straightahead "Koncepts" (similar to "Giant Steps") and the uptempo "Victory." Eubanks and Turre had worked together on and off for nearly four yaers at this point and their familiarity with each other's playing shows. Add to the two trombones a strong and flexible rhythm section and the result is a stimluating and varied set of modern jazz. ~ Scott Yanow http://www.allmusic.com/album/dedications-mw0000202222

Personnel:  Robin Eubanks - trombone, bass trombone, keyboards, bells;  Steve Turre - trombone, sea shells, synthesizer, bells, claves;  Mulgrew Miller - piano, synthesizers;  Francesca Tanksley – synthesizer;  Charnett Moffett – bass;  Tommy Campbell, Tony Reedus – drums;  Jimmy Delgado - congas, timbales

Dedications

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Inger Marie Gundersen - My Heart Would Have A Reason

Styles: Vocal

Year: 2009

File: MP3@320K/s

Time: 47:51

Size: 110,1 MB

Art: Front

(3:31)  1. Some Things Never Change Music

(4:09)  2. I Can See Clearly Now

(4:08)  3. That's All

(4:34)  4. Something

(4:11)  5. The Road From Yesterday

(4:07)  6. Last First Kiss

(5:17)  7. The First Time I Ever Saw Your Face

(3:47)  8. I Only Want To Be With You

(5:27)  9. Turn Your Lights Down Low

(5:28) 10. Why Should I Cry For You?

(3:07) 11. Even When

Inger Marie’s third CD release proves that the success of her previous two albums was no coincidence. She and her new collaborator, producer and guitarist Georg Wadenius, have handpicked a selection of extremely wellsuited songs, which she and her band  and featured guest, trumpeter Mathias Eick  perform to near perfection. Norwegian jazz diva Inger Marie Gundersen spreads a con- tagious mood of unstressed wellbeing. Her style is relaxed and her vocal phrasing is rock-steady. Once you’ve heard her interpret one of the songs that are so dear to her heart, her voice will never be a stranger to you. Few European fema- le vocalists can match her penetrating charisma. Her art is deeply embedded in her own original musical world. Her sound is personal, and she has the courage to choose tunes from a broader palette than the usual American Songbook. This selection includes her own originals as well as songs by Norwegian colleagues and composers from the outskirts of jazz such as Sting and Bob Marley. Inger Marie strikes a seductive, blue, vibrant note and leaves her audience with a luscious velvety, dusty feeling. Such is the smooth and credible sound of an experienced woman  it is the sound of reflection, love and longing. She administers her extraordinary vocal talent with authority.

Inger Marie does not take a new release lightly. For her, a new CD is an important and very personal undertaking   indeed it is so important, that her first solo album is only a few years back. But her following has been growing quickly ever since. Surprisingly, Asia was first to discover her great talent. She has sold thousands of units there and toured extensively. Her enga- gements include weeklong gigs at Tokyo’s Cotton Club. At home in Norway and in Denmark, where her recording label resides, and all over Europe and in the US, her audiences grow daily. The musicians on My Heart Would Have a Reason are almost exactly the same as on her first two albums (Make This Moment, 2004 and By Myself, 2006), and listening to the music, it is obvious that Inger Marie feels at home in their company. The band is: Oscar Jansen (piano/ Rhodes), Ole Kristian Kvamme (bass), Tom Rudi Torjussen (drums/percussion), Øivind G. Stømer (alto and soprano sax), Mathias Eick (trumpet) and Georg Wadenius (guitar). Swedish Georg Wadenius plays a definitive role as producer and co-arranger as well as with his tasteful musicianship on acoustic and electric guitar. Wadenius has been a professional musician since 1968. He soon became one of Sweden’s most popular session musi- cians, but moved to USA in the early ‘70s to join Blood Sweat and Tears. Once again his reputation grew swiftly, and over the years he worked with a wide range of acts inclu- ding Luther Vandross, Roberta Flack, Diana Ross, Dionne Warwick, Aretha Franklin, Donald Fagen, Michael Franks, Backstreet Boys and many others. The seasoned Georg Wadenius has now returned to Scandinavia, and his collaboration with Inger Marie has resulted in this remarkable album. http://www.challengerecords.com/products/1238593562/

Personnel: Inger Marie Gundersen (vocals); Georg "Jojje" Wadenius (guitar); Mathias Eick (trumpet); Oscar Jansen (piano).

My Heart Would Have A Reason

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Barbara Dennerlein - Orgelspiele

Styles: Jazz, Hard Bop, Post-Bop 
Year: 1984
File: MP3@320K/s
Time: 41:54
Size: 97,2 MB
Art: Front

(6:27)  1. Blue Rondo A La Turk
(4:23)  2. This Masquerade
(3:55)  3. Asinus Phi
(3:04)  4. Recreation
(3:25)  5. Eternal Voyage
(2:36)  6. Werde Munter Mein Gemüthe
(5:30)  7. Spain
(2:28)  8. Prelude No.4
(3:08)  9. Fly Me To The Moon
(3:40) 10. Recordame
(3:12) 11. All In Love Is Fair

Organist Barbara Dennerlein performs a wide variety of material on this little-known quartet session from her private German Bebap label. The repertoire ranges from "Blue Rondo A La Turk" and "This Masquerade" (the latter's authorship is mistakenly assigned to George Benson) to Stevie Wonder's "All In Love Is Fair," Chick Corea's "Spain" and pieces by Bach and Chopin. Dennerlein is one of the few original voices on the organ to emerge after Larry Young and she is fine form on the swinging set. ~ Scott Yanow http://www.allmusic.com/album/orgelspiele-mw0000338070

Personnel:  Bass – Barbara Dennerlein;  Drums – Harald Rüschenbaum;  Guitar – Peter Wölpl;  Organ – Barbara Dennerlein;  Violin – Jörg Widmoser

Orgelspiele

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Larry Schneider & Andy LaVerne - Bill Evans... Person We Knew

Styles: Piano And Saxophone Jazz
Year: 1994
File: MP3@256K/s
Time: 63:58
Size: 117,6 MB
Art: Front

(4:54)  1. Re: Person I Knew
(6:53)  2. 34 Skidoo
(8:46)  3. Dream Gypsy
(5:39)  4. Orbit (Unless It's You)
(6:51)  5. Time Remembered
(7:22)  6. Show-Type Tune
(8:46)  7. Detour Ahead
(3:05)  8. Israel
(6:08)  9. Elsa
(5:09) 10. Funkallero
(0:18) 11. Bill's Signature

This duo date by tenor saxophonist Larry Schneider and pianist Andy LaVerne is a tribute to the late Bill Evans, covering both Evans' compositions as well as works by others that he recorded. Evans' problems with drug addiction throughout his adult life are all too well-known, so it almost seems like "Re: Person I Knew" is actually played as a tribute to its composer's struggle with life. Unlike Evans' often rapid fire and melodic interpretations, LaVerne plays an almost dirge-like line to accompany Schneider's almost anguished sounding tenor sax. The duo reverts to a joyous roller coaster ride through Evans' tricky "34 Skidoo" and adds a Latin rhythm to his infrequently played "Orbit." "Time Remembered" is one of Evans' most gorgeous ballads, and Schneider's soulful playing is underscored by LaVerne's shimmering impressionistic piano line. They catch the playful spirit of "Funkallero" and even add Evans' brief signature stag, which he used at the end of each live set. 

The non-Evans tracks also show plenty of imagination. The choice of "Dream Gypsy" is an inspired one, since it appeared only once in Evans' considerable discography (on Undercurrent, with Jim Hall). The duo improvisation that opens John Carisi's "Israel" is breathtaking, while Earl Zindars' "Elsa" is a beautiful jazz waltz that is also well-interpreted. The thought that went into the arrangements and song selections (as well as the consistently high level of playing) make this tribute to Evans an essential acquisition for anyone who is a fan of his many contributions to jazz. ~ Ken Dryden http://www.allmusic.com/album/bill-evans-person-we-knew-mw0000517077

Personnel:  Piano – Andy LaVerne;  Tenor Saxophone – Larry Schneider

Bill Evans... Person We Knew

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Rodney Jones - The Undiscovered Few

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 62:34
Size: 145,3 MB
Art: Front

(6:27)  1. The Undiscovered Few
(5:58)  2. Light And Shadows
(4:47)  3. Tradewinds
(5:58)  4. Dreamers In Love
(5:41)  5. My Favorite Things
(2:55)  6. Through The Eyes Of A Child
(5:22)  7. Oliver & Thad
(5:18)  8. The Message
(6:16)  9. Lesson Time
(4:06) 10. Tears Of A Forgotten Child
(5:08) 11. Circus Wheel
(4:33) 12. 3Rd Orbit

Guitarist Jones has a few other CDs that made you stop and listen, but this one is a true revelation. It explores the music from an expanded compositional standpoint as opposed to the A-B (with solos) -A format. The improvisational aspect of the leader is not de-emphasized, but this superb music, with its mainstream inclinations and joyous horn-embellished large group charts, comes out in a stunning and refreshing manner. Jones has substantial help from top-notch peers as saxophonists Donald Harrison, Greg Osby, and Tim Reis; trumpeters Tim Hagans and Earl Gardner; pianists Shedrick Mitchell, Mike Renzi, and Mulgrew Miller; bassist Lonnie Plaxico; and drummer Eric Harland, among others. As a player on his hollow bodied, non-treated electric guitar, Jones is economical, crisp, and driving. The music he makes is richly constructed, filling up space. Horns cry out, swing like mad, commanding attention. These charts are quite remarkable with presence and effective clarity. "Light & Shadows," "The Message," "Circus Wheel," and "Third Orbit" pop and bop, crackling with syncopated underpinnings. A tour de force blues "Oliver & Thad" for Oliver Nelson and Thad Jones swells with an orchestral quality and expansive concept that is a common theme throughout. The music jumps out at you. Smaller groupings give Jones no less room to stretch as on the Latin-inspired "Tradewinds," or duets with violinist Regina Carter on "Tears of a Forgotten Child," and cellist Jesse Levy on "Through the Eyes of a Child (For Cara)." You're going to exclaim a huge "wow!" upon hearing this one for the first time and with repeated listenings gain more enjoyment from this exciting recording. Clearly an extraordinary modern jazz effort, certainly the best of Jones' career, and a solid candidate for Jazz CD of 1999. ~ Michael G.Nastos http://www.allmusic.com/album/the-undiscovered-few-mw0000245489

Personnel: Rodney Jones (guitar); Greg Osby, Morris Goldberg (alto saxophone); Donald Harrison, Tim Ries (tenor saxophone); Tim Hagans, Earl Gardner (trumpet); Charles Gordon (trombone); Regina Carter (violin); Jesse Levy (cello); Mark Sherman (vibraphone); Shedrick Mitchell, Mike Renzi, Mulgrew Miller (piano); Lonnie Plaxico, Benjamin Brown (bass); Lewis Nash, Eric Harland (drums); Robert Allende (percussion).

The Undiscovered Few

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Doc Severinsen & His Big Band - Swingin' The Blues

Bitrate: MP3@320K/s
Time: 53:59
Size: 123.6 MB
Styles: Big band
Year: 2008
Art: Front

[0:56] 1. Intro A La Indigo
[3:57] 2. C Jam Blues
[3:31] 3. Everyday I Have The Blues
[3:38] 4. Wang Wang Blues
[4:18] 5. In A Sentimental Mood
[5:03] 6. Happy Go Lucky Local Blues
[0:43] 7. Doc And Snooky Banter
[3:00] 8. Don't Touch Me
[3:10] 9. Topsy (Arr. T.P.T. Newsom) Topsy
[4:01] 10. What's New
[2:37] 11. The Hucklebuck
[4:10] 12. All Blues
[6:52] 13. West End Blues
[7:55] 14. The Supreme Sacrifice

Doc Severinsen, Tom Delibero, Snooky Young, Conte Candoli, Dennis Tribuzzi, Chuck Findley - trumpet/flugelhorn; Barbara Morrison - vocals; Ed Shaughnessy - drums; Ernie Watts - tenor sax; Mike Daigeau, Steve West - trombone; Ernie Tack - bass trombone; John Bambridge, Karolyn Kafer - alto sax/ soprano sax/flute/clarinet; Phil Feather, Doug Webb - tenor sax, flute, clarinet; Bill Perkins - baritone sax; Ross Tompkins - piano; Bill Cunliffe - piano, Hammond B3 organ#; John Leitham - bass.

Over the last few years, Doc Severinsen has kept a big band together by playing concerts and touring. This successor to the Tonight Show Band, so important to the success of the Johnny Carson show, continues to feature fresh, imaginative arrangements and stellar musicians to perform them. Many members of the group not only played with Severinsen on the Tonight show, but have their roots in the big band, swing tradition like Conte Candoli, Bill Perkins and especially Snooky Young who anchors the trumpet section. Critical to the success of a big band is a drummer who can drive the group, as well as take a roof raising solo from time to time. Ed Shaughnessy fills that prescription. Not only does he move the band with his relentless beat, but he hammers out some significant solos. That he is out of the Gene Krupa school of drumming is evident on Topsy. His performance recalls the Krupa solo on "Sing, Sing, Sing" at the 1938 Carnegie Hall Concert. He isn't all that subtle, but he sure can swing. "Topsy" is one of the highlights of the session and alone is worth the price of the album.

Severinsen is also generous is his distribution of solo time among the rest of the band members, as well as reserving time for himself. Doc is especially prominent on the Joe Oliver/Clarence Williams "West End Blues", an early favorite of Louis Armstrong. After an opening chorus from Severinsen, Bill Perkins comes in, assuming the Harry Carney baritone sax role on "In a Sentimental Mood", getting strong backing from Ross Tompkins' piano. Severinsen takes some more licks on a fervent arrangement of Bob Haggard's classic "What's New" recalling that Haggard was the first to occupy the bass chair in the original Tonight Show Band. The CD's denouement, "The Supreme Sacrifice", is a gospel-like number complete with Bill Cunliffe's Hammond B-3 organ, rumbling choruses from Mike Daigeau's trombone and Snooky Young' trumpet, with some parting shots from Severinsen. As icing on this musical cake, vocalist Barbara Morrison joins the group as "girl singer". Her presence also strengths the blues credentials for this session. She plays Joe Williams on "Every Day I Have the Blues" and does "Don't Touch Me" (pleasantly risque), and" The Hucklebuck", sharing the stage with Conte Candoli's trumpet. Probably no other form of jazz demands good, solid arrangements than big band swing. This album has outstanding material, with seven arrangements by the dependable Tommy Newsom and the rest divided among Artie Butler, John Bambridge and Bill Holman. Good arrangements, a fine play list and top flight musicians in a driving big band puts this album in the highly recommended category. ~Dave Nathan

Swingin' The Blues

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Steinar Albrigtsen - Life Is Good

Bitrate: MP3@320K/s
Time: 48:51
Size: 111.9 MB
Styles: Country jazz vocals
Year: 1996
Art: Front

[3:13] 1. Poor Stanley
[3:30] 2. Shooting Ghosts
[4:43] 3. Life Is Good
[4:07] 4. I Can`t See Myself
[2:28] 5. Ol`time Jazz
[4:54] 6. For Once
[3:57] 7. Blue Skies, Hot Sun
[3:00] 8. If I Give My Heart To You
[4:25] 9. Blues In The Key Of Mississippi
[2:44] 10. I`ll Get By
[3:53] 11. Small Town
[3:51] 12. Never Got A Chance
[4:00] 13. Golden Eagle Feather

Life Is Good is a dimmed plate from Steinar Albrigtsen, and many were probably surprised when this album came out in 1996. The most surprising to many was enough that the album lean more towards jazz than country. Many've become accustomed to thinking of Albrigtsen as a country singer, but on this album he shows that is completely different sides of themselves. He shows that he is really inspired by many types of music, as he always said. Life Is Good came out as ALBRIGTSEN fifth album. On this album there are many light shows, some bordering on pop music, others have a stronger jazz feel. There is also a blue song on the album, for everyone who misses country music. Although Albrigtsen is open to test many types of music, he discovered jazz quite late. He was already an adult, but got a taste for music and was inspired by the atmosphere and vocal performances of well-known jazz singers. On their previous album collaboration Albrigtsen closely with others, including Erik Moll and Tom Pacheco. On Life Is Good, he was more involved themselves. He helped write the lyrics, along with Pacheco, and Albrigtsen also created the music for eight of the songs on the album. (Translated from Norwegian.)

Life Is Good

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Mandy Gaines & The Wade Mikkola Quintet - Taking A Chance...

Bitrate: MP3@320K/s
Time: 54:50
Size: 125.5 MB
Styles: Jazz vocals
Year: 2006
Art: Front

[2:25] 1. Them There Eyes
[3:46] 2. Taking A Chance On Love
[5:30] 3. You Don't Know Me
[4:39] 4. Centerpiece
[4:15] 5. S'wonderful
[3:20] 6. My Romance
[5:35] 7. There's No Such Thing As Love
[2:32] 8. I Just Found Out About Love
[4:00] 9. Cheek To Cheek
[2:49] 10. Miss Otis Regrets
[5:26] 11. Our Day Will Come
[4:12] 12. Moonlight In Vermont
[3:14] 13. The Way You Look Tonight
[3:02] 14. In The Wee Small Hours Of The Morning

At the first meeting with Mandy Gaines and my group, it became instantly clear that it had been worth ”taking a chance…”. Mandy’s expressive singing and her strong phrasing showed the group rightaway where to lay the groove. She possesses the rare talent to give the lyrics a meaning, tell the story and make it her own. This always gives the interesting challenge for the accompanists to match it with a complimentary musical arrangement. We both took a chance and it paid off. When listening to this cd, I am sure you agree!

Ms. Gaines and company have mined the treasure trove of the 20th Century American songbook, and have created a modern masterpiece in Taking A Chance. The arrangements by group leader and bassist Wade Mikkola effectively display the multifaceted talents of his sidemen in various combinations from duo to quintet. And while Mandy Gaines is a new name to this listener, it is evident from the sincerity and poise of her vocal expressiveness that she has achieved an uncommon mastery of the art of jazz and popular singing. This CD is truly a surprising find, a definite must have!!! ~Roger Bennett/Pacific Jazz

Taking A Chance...

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Nicola Conte - The Modern Sounds Of Nicola Conte

Bitrate: MP3@320K/s

Time: 43:49

Size: 100.3 MB

Styles: Jazz/Pop/Rock, Electronic

Year: 2009

Art: Front

[4:39] 1. When I Wish Upon A Star

[3:28] 2. All Or Nothing At All

[5:15] 3. Charade

[6:15] 4. Flamenco Sketches

[3:30] 5. Groovy Samba

[4:17] 6. Lotus Sun

[4:02] 7. New Blues

[2:25] 8. Solo

[5:25] 9. Take Five

[4:29] 10. The Shaman

Performer [With] – Akiko, Alice Riccardi, Daniele Scannapieco, Fabrizio Bosso, Flavio Boltro, Gaetano Partipilo, Gianluca Petrella, José James, Kim Sanders, Lisa Bassenge, Lorenzo Tucci, Mark Murphy, Pietro Ciancaglini, Pietro Lussu, Rosario Giuliani, Teppo Mäkinen, Till Brönner, Timo Lassy.

This set has been a long time coming. Italian composer, arranger, multi-instrumentalist, DJ, and label impresario Nicola Conte has been issuing tracks on compilations, on 7", 10", and 12" vinyl for over a decade as mixes, side projects, and reworks. (The latter means that he actually uses his own band to reconceptualize and rearrange an original artist’s recording, more often than not with said artist’s participation.) Most of these cuts came and went, and have been out of print for some time. This killer double-disc set collects virtually all of them in a single spot -- 26 tracks' worth on his Schema imprint. The range of artists is staggering, from Mark Murphy, Til Brönner, Jose James, and Marco Di Marco to Fertile Ground, the Five Corners Quintet, Maki Mannami, and Roberto Roena.

Highlights on disc one include Mark Murphy’s “Stolen Moments (Midnight Mood Rework)”; his own Latin-ized cover of Henry Mancini’s and Johnny Mercer’s “Charade,” with Lisa Bassenge on vocals, and the killer reconstruction of [re:jazz]’s “Quiet Nights” subtitled “Out of the Cool Version,” after the Gil Evans session on Impulse! that inspired it. But tracks like the Jack Lawrence and Arthur Altman standard “All or Nothing at All,” by Conte's group with Jose James on vocals, are stellar examples of his ability to chart for large ensembles and make them rhythmically compelling and harmonically adventuresome, yet contain utterly smooth textures. Disc two contains the gorgeous reworking of Til Brönner’s version of Antonio Carlos Jobim’s and Vinicius de Moraes’ “Só Danço Samba,” that retains Brönner’s vocal and trumpet solo, but conceives everything else -- Conte’s guitar work on this track is stellar. The 12” of the Sunaga T Experience’s “A Healing Blue (Shape of Jazz to Come Version)” features Sheila Landis adding lyrics to the composition and fronting the Italian quintet. Also check the Afro-Cuban rework of Dave Brubeck’s classic “Take Five!” by Roberto Roena.

Ultimately, it doesn’t matter if you know anything about Conte’s side project work, or his singles there are plenty of them here -- if you dig the man’s music, you’ll flip for The Modern Sounds of Nicola Conte: Versions in Jazz-Dub. It is a seamless, utterly engaging collection of 21st century clubjazz rooted in the traditions of bossa, West Coast, progressive big band, continental, and post-bop jazz, as well as 21st century electronic music that has something on it for everyone. Thom Jurek

The Modern Sounds Of Nicola Conte   

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James Moody - S/T

Bitrate: MP3@320K/s
Time: 37:29
Size: 85.8 MB
Styles: Bop
Year: 1959/2004
Art: Front

[3:50] 1. Darben The Redd Foxx
[3:06] 2. Little Girl Blue
[6:27] 3. Out Of Nowhere
[5:56] 4. Daahoud
[4:01] 5. Yesterdays
[2:37] 6. Cookie
[3:17] 7. With Malice Towards None
[8:11] 8. R.B.Q

Johnny Coles - Trumpet; Clarence Johnston - Drums; Musa Kaleem - Sax (Baritone); Gene Kee - Piano; John Latham - Bass, Guitar (Bass); Tom McIntosh - Trombone; James Moody - , Sax (Alto), Sax (Tenor).

James Moody's self-titled disc from 1959 is a solidly swinging date that finds Moody splitting his time between flute, alto, and tenor sax. His sextet is made up of mostly obscure players, though trumpeter Johnny Coles had a couple of records as a leader. The session was the first for Moody following his stay at Overbrook Hospital and he certainly sounds rejuvenated on uptempo tunes like "Daahoud," "Darben the Redd Foxx," and "Cookie." His work on flute is especially nice on the ballads "Little Girl Blue" and "Yesterdays." Best of all is "R.B.Q.," a funky blues workout that closes the record in style and features Moody on tenor blowing his soul out. This record is a fine example of what makes Moody so wonderful; his exuberance, thoughtfulness, and soul make him one of the greats. If you haven't discovered him yet, this is a good place to start. If you're already hip to the man, this is a vital addition to your collection. ~Tim Sedra

James Moody

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Charles Earland - Whip Appeal

Styles: Jazz, Straight-ahead/Mainstream
Year: 1990
File: MP3@320K/s
Time: 41:35
Size: 96,2 MB
Art: Front

(6:31)  1. Songbird
(8:43)  2. Whip Appeal
(7:08)  3. Burner's Desire
(3:47)  4. No Brain, No Pain
(7:21)  5. Eight After Ten
(8:05)  6. More Today Than Yesterday

A jazz version of Babyface's "Whip Appeal"? It's hard to believe, but then, Charles Earland has always had an impressive ability to recontextualize pop and R&B songs that seem the most unlikely vehicles for jazz improvisation. On this fine CD, which marked the end of his association with Muse Records, Earland transforms that urban contemporary number into hard-swingin' soul-jazz, successfully revisits the Spiral Starecase's "More Today Than Yesterday," and adds a lot of grit and spice to something not exactly known for those things: Kenny G's "Songbird." The latter does have a pretty melody, and it becomes quite soulful in the imaginative hands of Earland -- whose excellent support includes fellow Philadelphian Johnny Coles (flugelhorn) and longtime ally Houston Person (tenor sax). ~ Alex Henderson http://www.allmusic.com/album/whip-appeal-mw0000645957

Personnel: Charles Earland (organ); Robert Block (guitar); Jeff Newell (soprano saxophone, alto saxophone); Houston Person (tenor saxophone); Johnny Coles (flugelhorn); Marvin Jones (drums); Lawrence Killian (percussion)

Whip Appeal

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The Vipers - Night & Day

Styles: Vocal Jazz, Brazilian Jazz
Year: 2007
File: MP3@320K/s
Time: 45:26
Size: 104,1 MB
Art: Front

(3:27)  1. Night & Day
(4:10)  2. They Can't Take That Away From Me
(4:02)  3. There Is No Greater Love
(2:39)  4. The Girl From Ipanema
(3:06)  5. You Make Me Feel So Young
(2:20)  6. Deed I Do
(6:35)  7. September In The Rain
(4:17)  8. Corcovado
(4:48)  9. Pennies From Heaven
(3:50) 10. Caravan
(6:06) 11. In A Mellow Tone

Fronting the Vipers is sultry singer Adrienne Hindmarsh, who's vocals are often compared to Norah Jones and Eva Cassidy. Her repertoire includes popular jazz standards, bossanovas and more popular tunes including hits by Burt Bacharach and Norah Jones. Adrienne Hindmarsh also brings to The Vipers her unique skill on the Hammond B3 organ, where her skill on the foot pedal bass and use of dynamic chords make sure the classic sound of the Hammond B3 lives again.  Founding member and guitarist Josh Hindmarsh contributes his unique driving chords and spirited improvisations in the spirit of George Benson and Wes Montgomery and his playing never fails to give the bands performance the upbeat swinging edge they have become known for.  Both A Time To Swing and their latest CD Night & Day features the legendary Roger Sellers on drums. https://www.cdbaby.com/cd/vipers2

Night & Day

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Steve Turre - Viewpoint

Styles: Trombone Jazz
Year: 1987
File: MP3@224K/s
Time: 42:23
Size: 68,5 MB
Art: Front

(6:16)  1. Lament
(7:16)  2. In a Sentimental Mood
(6:18)  3. All Blues
(5:13)  4. Viewpoint
(6:53)  5. Mercury
(6:19)  6. Midnight Montuno
(4:04)  7. Who's kiddin'?

Steve Turre covers a lot of styles on his debut as a leader; from tributes to Kid Ory and Duke Ellington to bop, a bit of free form and Latin jazz. The trombonist proves that he is comfortable in all of those idioms, making this a rather impressive set. His supporting cast consists of pianist Mulgrew Miller, bassist Peter Washington, drummer Idris Muhammad, occasionally cellist Akua Dixon, extra percussion and (on the dixielandish piece) clarinetist Haywood Henry, trumpeter Jon Faddis and the tuba of Bob Stewart. Everything works. ~ Scott Yanow http://www.allmusic.com/album/viewpoint-mw0000914903

Personnel:  Steve Turre (Trombone);  Mulgrew Miller (Piano); Peter Washington (Bass);  Idris Muhammad (Drums);  Haywood Henry (Claninet);  Jon Faddis  (Trumpet);  Bob Stewart (Tuba).

Viewpoint

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Kevin Hays Trio - Ugly Beauty

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 59:38
Size: 138,4 MB
Art: Front

(6:00)  1. Shade Of Jade
(6:28)  2. Chelsea Bridge
(7:00)  3. The Well
(6:59)  4. Ugly Beauty
(5:50)  5. Pompeian
(7:57)  6. Detour Ahead
(6:32)  7. Big Nick
(6:14)  8. How The Mighty Fall
(6:34)  9. United

Kevin Hays was only 23 at the time of this recording and hadn't quite developed the hallmarks of his own style. Still, this is clearly the work of a prodigious talent. Joined by Larry Grenadier on bass and Jeff Williams on drums, the pianist tackles difficult music by post-bop greats Joe Henderson, Bobby Hutcherson, Wayne Shorter, and John Coltrane. He does beautiful work with the standard ballads "Chelsea Bridge" and "Detour Ahead," as well as the Monk classic "Ugly Beauty." Only one Hays original, "The Well," appears, along with "How the Mighty Fall," a bossa by the underrated tenor saxophonist and composer Patrick Zimmerli. Hays' superior grasp of harmony is quite evident; his improvising while extremely impressive is not as distinctive as it would become in subsequent years. The fact that this is one of only two trio albums in Hays' catalog (as of this writing) makes it all the more interesting. ~ David R. Adler http://www.allmusic.com/album/ugly-beauty-mw0000436048

Personnel:  Bass – Larry Grenadier;  Drums – Jeff Williams;  Piano – Kevin Hays

Ugly Beauty

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Steve Nelson - Sound-Effect

Styles: Vibraphone Jazz
Year: 2007
File: MP3@320K/s
Time: 58:27
Size: 134,4 MB
Art: Front

(8:35)  1. One Thin Dime
(6:10)  2. Song For Tina
(7:22)  3. Desafinado
(6:05)  4. You And The Night And The Music
(6:40)  5. Night Mist Blues
(9:10)  6. Sound Essence
(7:33)  7. Up Jumped Spring
(6:48)  8. Arioso

Pittsburgh native Steve Nelson has made his way through the jazz ranks playing high profile gigs with artists as diverse as Grant Green and Dave Holland. Since the 1970s, the Rutgers University alum has been quietly carving out his place as one of the premier vibraphonists working in jazz today. On Sound-Effect Nelson, with the help of pianist Mulgrew Miller, bassist Peter Washington and drummer Lewis Nash, stands front-and-center, towering over the vibes with vigor, clarity and unbridled soul. Nelson contributes three compositions to the set. All are harmonically rich, melodically fervent and, best of all, unmistakably swinging. The opening "One Thin Dime is full of bluesy-type figures and rhythm section breaks. The familiar-sounding fare serves as the perfect medium-tempo, warm-up vehicle. By contrast, "Song for Tina, a cascading waltz with flowing lines and clustered chords, entices intense solos, fueled by Nash's limitless energy. Nelson's well-crafted ballad, "Sound Essence, lets the vibraphonist explore the full range of his instrument in a gentle, unhurried manner. The remainder of the disc is comprised of a lyrical waltz, "Arioso, from the late pianist James Williams, and four standards. Antonio Carlos Jobim's "Desafinado, Freddie Hubbard's "Up Jumped Spring and Ahmad Jamal's "Night Mist Blues give the disc a predictable, jam-session feel, elevated by exceptional performances and incomparable feel. The Dietz and Schwartz classic "You and the Night and the Music, a disc highlight, is taken as a no-nonsense chops-buster  It's hard to go wrong with a release like Sound-Effect. Nelson, Miller, Washington and Nash are at the top of their game, and play with unmatched passion and stamina. More original material would have been welcome, yet the result is a wonderful addition to the catalogue of a modern master. ~ John Barron https://www.allaboutjazz.com/sound-effect-steve-nelson-highnote-records-review-by-john-barron.php
 

Personnel: Steve Nelson: vibraphone; Mulgrew Miller: piano; Peter Washington; Lewis Nash: drums.

Sound-Effect

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Benny Golson Quartet - Free

Bitrate: MP3@320K/s
Time: 37:58
Size: 86.9 MB
Styles: Bop, Saxophone jazz
Year: 1962/2011
Art: Front

[7:00] 1. Sock Cha Cha
[7:16] 2. Mad About The Boy
[5:47] 3. Just By Myself
[4:30] 4. Shades Of Stein
[7:27] 5. My Romance
[5:55] 6. Just In Time

Bass – Ron Carter; Drums – Arthur Taylor; Piano – Tommy Flanagan; Tenor Saxophone – Benny Golson. Recorded December 26, 1962 - Van Gelder Studios, Englewood Cliffs, New Jersey.

The "Free" in the title of this album is not the Ornette Coleman type of free, but merely Golson's feeling that on this recording he had the "freedom" to do what he wanted without anyone else calling the shots. That is still very much in the mainstream tradition of modern jazz - hard bop style. Golson is especially fond of the lower register of the tenor and has a rolling style not unlike thunderclouds, albeit small sized ones. SOCK CHA CHA is an interesting tune: 43 bars long played with a latin rhythm except for the bridge, which is 16 bars long and played in straight 4/4. JUST IN TIME and JUST BY MYSELF are taken up tempo and they swing very nicely. The real standout on this album to these ears is pianist Tommy Flanagan who plays beautifully with quiet assurance. Ron Carter (b) and Arthur Taylor (d) round out the personnel; Taylor's drumming is ever-present but not the least bit intrusive. One or two tracks are below the others (SHADES OF STEIN is one), but a very good CD nonetheless. ~Bomojazz

Free

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Nils Landgren - The Moon, The Stars And You

Bitrate: MP3@320K/s
Time: 54:58
Size: 125.8 MB
Styles: Jazz vocals. Trombone jazz
Year: 2011
Art: Front

[5:07] 1. Moonshadow
[3:25] 2. The Moon, The Stars And You
[3:31] 3. Oh You Crazy Moon
[3:54] 4. Joe's Moonblues
[4:48] 5. Angels Of Fortune
[4:28] 6. Moon River
[3:19] 7. Till There Was You
[4:25] 8. Stars In Your Eyes
[4:33] 9. Please Don't Tell Me How The Story Ends
[4:42] 10. The Moon's A Harsh Mistress
[5:23] 11. Holofotes
[7:18] 12. Lost In The Stars

Nils Landgren / trombone & vocals; Michael Wollny / piano; Lars Danielsson / bass; Rasmus Kihlberg / drums. Special Guests: Joe Sample / piano; João Bosco / guitar & vocals; Richard Galliano / accordion; Steve Gadd / drums; Caecilie Norby / vocals; NDR Bigband & Stockholm Philharmonic Orchestra.

An incredible new vocal jazz album by Swedish singer and trombonist Nils Landgren, accompanied by many greats such as Joe Sample, Steve Gadd, Joao Bosco, Richard Galliano, and Cæcilie Norby. Nils Landgren presents his third vocal jazz album after the very successful Sentimental Journey in 2005 and Ballads in 1999. Features well-known guests Joe Sample, Steve Gadd, Joao Bosco, Richard Galliano, and Caecilie Norby. Contains a broad repertoire, from the very intimate Moon River to a full symphony orchestra on Lost in the Stars and everything in between!

Nils Landgren is one of the world s great trombonists and enjoys both sophisticated chamber jazz and straight out party music, seemingly in equal measure. --Jazzitude

The Moon, The Stars And You

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Sherie Rene Scott - Men I've Had

Bitrate: MP3@320K/s
Time: 53:41
Size: 122.9 MB
Styles: Vocal
Year: 2002
Art: Front

[4:13] 1. Squeeze Box
[3:40] 2. Let My Love Open The Door
[3:44] 3. Midnight Creeper
[4:51] 4. Honky Cat
[4:38] 5. I Think He's Hiding
[3:18] 6. Bargain
[4:26] 7. Mona Lisas And Mad Hatters
[3:39] 8. Falling In Love
[4:25] 9. Come Down In Time
[5:48] 10. This Life
[4:06] 11. Real Emotional Girl
[4:26] 12. Love Heals
[2:22] 13. He Gives Us All His Love

"When you've had some of the very best, you want to spread it around." So says singer Sherie Rene Scott (star of Elton John and Tim Rice's "Aida," "The Who's Tommy," and "Rent") whose debut album "Sherie Rene... Men I've Had" features songs by Pete Townshend, Elton John and Randy Newman. "Men I've Had" gives Sherie the opportunity to pay tribute, in her own unforgettable way, to the "Men She's Had" (world famous composers she's worked with in her career as a Broadway pop music star).

Part feminist, part femme fatale, (think Ann-Margret with an edge) Sherie sings some of her favorite songs by Pete, Elton and Randy as well as never-before recorded songs by Jonathan Larson ("Rent") and Kander & Ebb ("Chicago," "Cabaret"). Each song brings new light to the familiar tunes. USA TODAY gives the album 3 stars, and raves "Scott is a powerhouse vocal talent!" and Liz Smith boasts "Sherie Rene Scott is bawdy and beautiful, bitchy and touching!"

Men I've Had

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Donovan - Donovan's Greatest Hits

Bitrate: MP3@320K/s
Time: 50:09
Size: 114.8 MB
Styles: Folk-rock, Psychedelic pop
Year: 1969/1999
Art: Front

[3:39] 1. Mellow Yellow
[2:42] 2. Colours
[3:18] 3. Hurdy Gurdy Man
[2:53] 4. Catch The Wind
[2:54] 5. Lalaina
[3:10] 6. Epistle To Dippy
[4:31] 7. Sunshine Superman
[2:35] 8. There Is A Mountain
[2:41] 9. Jennifer Juniper
[2:23] 10. Wear Your Love Like Heaven
[4:56] 11. Season Of The Witch
[4:58] 12. Atlantis
[3:11] 13. To Susan On The West Coast Waiting
[3:17] 14. Barabajagal
[2:54] 15. Riki Tiki Tavi

Epic's Greatest Hits may not be a perfect collection -- for instance, it contains re-recordings of his earliest folk songs, "Catch the Wind" and "Colours," not the originals -- but for many casual fans, that may not matter since the remaining nine songs offer an excellent summary of his hit singles. And, as these songs prove, Donovan and producer Mickie Most could craft irresistible folk-rock and psychedelic pop singles. Some of the sounds and sentiments may sound a little dated, but the productions and the songs -- "Sunshine Superman," "Jennifer Juniper," "Wear Your Love Like Heaven," "Season of the Witch," "Mellow Yellow," "Hurdy Gurdy Man," "Epistle to Dippy," "There Is a Mountain," "Lalena" -- have proven to be classics of the era, and this is the best place to get them all on one collection. ~Stephen Thomas Erlewine

Donovan's Greatest Hits

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David Sanborn - Only Everything

Bitrate: MP3@320K/s
Time: 45:40
Size: 104.6 MB
Styles: Saxophone jazz
Year: 2010
Art: Front

[3:41] 1. The Peeper
[8:00] 2. Only Everything (For Genevieve)
[5:01] 3. Hard Times
[3:05] 4. Let The Good Times Roll
[8:02] 5. Baby Won't You Please Come Home
[6:03] 6. You've Changed
[3:56] 7. Hallelujah I Love Her So
[7:49] 8. Blues In The Night

Alto Saxophone – David Sanborn; Baritone Saxophone – Frank Basile; Drums – Steve Gadd; Organ – Joey DeFrancesco; Tenor Saxophone – Bob Malach; Trombone – Mike Davis; Trumpet – Tony Kadleck.

Only Everything is alto saxophonist David Sanborn's second straight release paying homage to one of his greatest and earliest influences, Ray Charles. While some jazz purists may dismiss Sanborn as a slick TV personality and practitioner of smooth or pop jazz, he's always had firm roots in bluesy, R&B-based jazz, dating to his early days playing with the likes of Albert King and the Paul Butterfield Blues Band. And along with his more commercially calculated recordings, he's released some excellent straight-ahead, even experimental albums over the years, notably 1991's out-of-left-field Another Hand (Elektra), which featured Sanborn in the company of Charlie Haden, Marc Ribot and Bill Frisell, among others.

On Only Everything, Sanborn is joined by a tight, small group featuring the hard-grooving organist Joey DeFrancesco and the well-traveled drum dynamo Steve Gadd. The addition of a four-member horn section—Bob Malach (tenor), Frank Basile (baritone), Tony Kadlock (trumpet) and Mike Davis (bass trombone)—on about half the tracks gives the album a 'little big band' vibe that evokes Charles' 1961 Atlantic classic Genius + Soul = Jazz. Like its predecessor, 2008's well-received Here and Gone (Verve), Only Everything highlights the contributions of Charles' star saxophonists Hank Crawford and David "Fathead" Newman, both of whom passed away last year within days of each other. Sanborn pays tribute to his fellow saxmen here with a rousing take on Crawford's "The Peeper" and a moving treatment of Newman's signature tune, "Hard Times." Throughout, Sanborn's earthy, slightly tart alto and DeFrancesco's booming, soulful organ make a compelling pairing, with the often subdued Sanborn playing with unexpected fire and the flashy DeFrancesco showing some welcome restraint.

The album's two vocal guests have mixed results. Young pop-soul star Joss Stone has great chops, but tries too hard on "Let the Good Times Roll" while the always relaxed James Taylor fares better on a cool, low-key reading of "Hallelujah, I Love Her So." ~Joel Roberts

Only Everything    

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