Adam Makowicz Trio - My Favorite Things - Music of Richard Rodgers

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 63:01
Size: 147,8 MB
Art: Front

(5:03)  1. Where Or When
(5:26)  2. I Didn't Know What Time It Was
(5:19)  3. The Surrey With The Fringe On Top
(6:42)  4. My Favorite Things
(6:16)  5. The Lady Is A Tramp
(4:00)  6. This Can't Be Love
(4:29)  7. My Funny Valentine
(6:33)  8. My Romance
(6:30)  9. Lover
(7:36) 10. It Might As Well Be Spring
(5:02) 11. Have You Met Miss Jones

Adam Makowicz made a strong impression when he first came to the U.S. and at the time, he was often compared to Art Tatum. Although his technique is nearly on Tatum's level, Makowicz has long had his own style, mixing together different aspects of jazz, ranging from swing to hard bop. He started playing jazz in the late '50s and with Tomasz Stanko formed one of the first European free jazz groups, the Jazz Darings. He led his own groups in Warsaw from 1965 on and in 1970 played electric piano in Michal Urbaniak's band. Makowicz also worked with Urszula Dudziak and recorded several albums in Poland before coming to the United States in 1977. Although the initial publicity (when he was championed by John Hammond) has long since died down, Makowicz has, if anything, continued to improve as a pianist. He has recorded many records as a leader for such labels as Columbia, Stash, Choice, Sheffield Lab, Novus, and Concord. ~ Scott Yanow http://www.allmusic.com/artist/adam-makowicz-mn0000499915/biography

Personnel: Adam Makowicz (piano), George Mraz (bass), Alan Dawson (drums)

My Favorite Things - Music of Richard Rodgers

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Malene Kjaergard - On Cole Porter

Styles: Vocal Jazz
Year: 2016
File: MP3@320K/s
Time: 49:08
Size: 116,3 MB
Art: Front

(4:57)  1. Let's Do It
(3:58)  2. Night And Day
(4:19)  3. What Is This Thing Called Love
(4:32)  4. Dream Dancing
(6:47)  5. I Get A Kick Out Of You
(4:42)  6. Anything Goes
(3:17)  7. I Concentrate On You
(6:25)  8. Get Out Of Town
(4:00)  9. Just One Of Those Things
(6:07) 10. Ev'ry Time We Say Goodbye

Kjaergaard/Cigna/Dall interpret the great songbook of the American composer Cole Porter. At a concert with the Kjaergaard/Cigna/Dall Trio you will hear interpretations of standards from the great American composer Cole Porter. The trio has worked intensively on giving the songs new life and making new, up-to-date arrangements. You will hear some of Cole Porters most well known songs such as ”I’ve Got You Under My Skin”, ”Let’s Do It” and ”It’s Alright With Me”, but you will also hear some of the less know though very catchy and beautiful such as ” Get Out Of Town”, ”Dream Dancing” and ”From This Moment On”. http://www.artisttrove.com/artist/863376987114100/Kjaergaard-Cigna-Dall+on+Cole+Porter

Personnel:  Malene Kjærgård (Vocal), Francesco Cigna (Guitar), Tobias Dall Mikkelsen (Double Bass)

On Cole Porter

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Nicholas Payton - Payton's Place

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 71:27
Size: 164,2 MB
Art: Jazz

(5:54)  1. Zigaboogaloo
(5:26)  2. The Three Trumpeteers
(6:29)  3. Back To The Source
(5:13)  4. A Touch Of Silver
(7:09)  5. Concentric Circles
(5:07)  6. Li'l Duke's Strut
(5:39)  7. Time Traveling
(5:38)  8. With A Song In My Heart
(9:40)  9. Paraphernalia
(4:18) 10. Brownie A La Mode
(5:23) 11. People Make The World Go Round
(5:25) 12. The Last Goodbye

Think of all the great jazz quintets over the years that have used trumpet, tenor saxophone, piano, bass, and drums. They're at the core of the answer to the "What is Jazz?" question, and Nicholas Payton's fourth release as leader honors that tradition. Along with tenor saxophonist Tim Warfield, pianist Anthony Wonsey, bassist Reuben Rogers and drummer Adonis Rose, the young trumpeter weaves his modern mainstream compositions around echoes of jazz legends; nine of these twelve pieces are Payton's originals. The trumpeter's father, New Orleans bassist Walter Payton, saw to it that his son was exposed to good music from his earliest years. Receiving his first trumpet at age four, sitting in on his father's rehearsals at the house, and performing with his father's jazz ensemble while still in grammar school, Payton had encouragement to suit his talent. Payton attended the New Orleans Center for Creative Arts and the University of New Orleans, but it's the encouragement from family and friends such as Clark Terry, Ellis and Wynton Marsalis, and Doc Cheatham, that seems to have made its mark on the talented youngster; Payton turns 25 this year. Guest Joshua Redman replaces Warfield on "A Touch of Silver" alongside the walking bass, swinging drummer and loping piano accompaniment. He and Payton work well together as a team. The effect is smooth and relaxed, yet they offer the listener just enough spice to keep it interesting. Wynton Marsalis assumes Warfield's chair on "Brownie a la Mode" as the two trumpeters engage in a good-natured cutting contest. "With a Song in my Heart" is performed up-tempo with guest Roy Hargrove sharing the spotlight. "The Three Trumpeters" brings the three together in an easy-going exchange. 

While Marsalis and Payton have distinctively brassy tones, Hargrove's contrasts and serves to round off the edges. Each trumpeter uses a gentle vibrato; they approach accented figures differently, and Marsalis supplies a few 1/2-valve phrases. Payton is in good "trumpet-tooting" company, good mainstream quintet company, and has already made quite a mark on the jazz world. Highly recommended. ~ Jim Santella https://www.allaboutjazz.com/paytons-place-nicholas-payton-verve-music-group-review-by-jim-santella.php?width=1920

Personnel: Nicholas Payton (trumpet); Joshua Redman, Tim Warfield (tenor saxophone); Roy Hargrove, Wynton Marsalis (trumpet); Anthony Wonsey (piano); Adonis Rose (drums).

Payton's Place

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Clifford Jordan Quartet - Spellbound

Bitrate: MP3@320K/s

Time: 40:10

Size: 92.0 MB

Styles: Bop, Saxophone jazz

Year: 1960/1992

Art: Front

[4:24] 1. Toy

[5:12] 2. Lush Life

[4:39] 3. Moon-A-Tic

[5:50] 4. Spellbound

[5:04] 5. Hot Water

[6:28] 6. Last Night When We Were Young

[8:31] 7. Au Privave

Bass – Spanky DeBrest; Drums – Albert "Tootie" Heath; Piano – Cedar Walton; Producer – Cannonball Adderley; Tenor Saxophone – Clifford Jordan. Recorded: New York City, August 10, 1960.

Tenor saxophonist Clifford Jordan was sponsored by Cannonball Adderley on this set for Riverside, reissued on CD under the OJC imprint. At this point, Jordan did not quite have the distinctive sound that he would develop in his period with Charles Mingus, but he was already a strong hard bop stylist. Assisted by pianist Cedar Walton, bassist Spanky DeBrest, and drummer Albert "Tootie" Heath, Jordan performs four originals ("Toy" is best known), an unusual waltz version of "Lush Life," the ballad "Last Night When We Were Young," and the romping Charlie Parker blues "Au Privave." It's an excellent straight-ahead outing. ~Scott Yanow

Spellbound

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The New Gary Burton Quartet - Guided Tour

Bitrate: MP3@320K/s
Time: 64:31
Size: 147.7 MB
Styles: Vibraphone jazz
Year: 2013
Art: Front

[7:18] 1. Caminos
[5:51] 2. The Lookout
[6:22] 3. Jane Fonda Called Again
[6:31] 4. Jackalope
[6:43] 5. Once Upon A Summertime
[6:03] 6. Sunday's Uncle
[6:54] 7. Remembering Tano
[7:17] 8. Helena
[6:40] 9. Legacy
[4:47] 10. Monk Fish

Gary Burton: vibraphone; Julian Lage: guitar; Scott Colley: bass; Antonio Sanchez: drums.

For some, retirement means winding down and enjoying what life has to offer, after a lifetime spent with the daily grind of making a living. With most musicians, however, while making a living has been a not insignificant challenge, making music can hardly be called a daily grind; it's work, to be sure, but it's also play. Still, for those who have— either by choice, necessity or both—engaged in a career that's a mix of education, recording and gigging, retirement can mean clearing the plate of at least one of those responsibilities.

Such is the case with vibraphonist Gary Burton who, after retiring as Executive Vice President of Boston's Berklee College of Music, has done something he's not done for over three decades: put together a group that's released two consecutive recordings without a change in personnel. The last time he did that, with 1980's Easy as Pie and 1982's Picture This—two ECM recordings that remain on the list of recordings from the German label still awaiting release on CD—he had a sax-led quartet that, in addition to longtime musical partner Steve Swallow, included two young players he'd met through his association with Berklee.

Based on the captivating, bursting-out-of-the-speakers Guided Tour, which follows 2011's similarly impressive Common Ground—Burton's Mack Avenue debut and first recording with the New Gary Burton Quartet—the vibraphonist has brought these three musicians back because, as terrific an opportunity as it undoubtedly is for all of them to work with one of the living legends of the instrument, it's equally clear that they're giving something back, lighting a serious fire underneath Burton that he's not had in a steady band for a long, long time. ~John Kelman

Guided Tour

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Louie Shelton - Jazz Cafe

Bitrate: MP3@320K/s
Time: 49:36
Size: 113.5 MB
Styles: Cool jazz, Guitar jazz
Year: 2015
Art: Front

[4:08] 1. Mandalay Sunset
[4:27] 2. Urban Culture
[4:56] 3. New Life
[5:00] 4. Reflections
[5:04] 5. Better Days (Feat. Lua Crofts)
[4:20] 6. Redlight
[4:34] 7. Uptown
[3:59] 8. Shirade
[4:03] 9. Street Walkin'
[5:10] 10. Inner City Blues
[3:49] 11. Pot Luck

Louie Shelton has been delighting the ears of devout music fans for over a half a century. From The Monkeys to John Lennon to Stevie Wonder-Louie Shelton's signature sound has added its own magic to endless records all over the world!

While successfully working within all facets of the music industry in Los Angeles for many years, which includes session guitarist, recording artist, record production, and composing and playing on countless movie scores and television shows, Louie had the opportunity of working closely with the great composers Henry Mancini, Dave Grusin, Quincy Jones and Lalo Schifron. Some of his film/T.V. credits include J.W. Coope, The World Around Us, The Changing World, Crocodile Man, Traveling South, Outlaw Josey Wales with Clint Eastwood, Klute with Jane Fonda & Donald Sutherland, Bloody Mama with Robert De Niro & Shelley Winters.

Jazz Cafe

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Alexis Cole - Ain't We Got Fun

Bitrate: MP3@320K/s
Time: 44:45
Size: 102.5 MB
Styles: Jazz vocals
Year: 2016
Art: Front

[3:57] 1. Ain't We Got Fun
[3:45] 2. Do You Ever Think Of Me
[3:44] 3. Limehouse Blues
[3:14] 4. Chicago (That Toddlin' Town)
[4:59] 5. Bimini Bay
[2:46] 6. Nobody Knows You When You're Down And Out
[4:30] 7. There's A Broken Heart For Every Light On Broadway
[4:07] 8. Indian Summer
[2:33] 9. A Kiss In The Dark
[3:35] 10. Turn Back The Universe And Give Me Yesterday
[3:38] 11. Let The Rest Of The World Go By
[3:49] 12. Till We Meet Again

Vocalist Alexis Cole is an accomplished jazz performer with a sophisticated, urbane style and warm, resonant voice, well suited to traditional standards and swing. Cole has performed with the likes of Rufus Reid, Slide Hampton, Ron Affif, John Hébert, and Norma Winstone. Although based in N.Y.C., she has played and taught in locales worldwide, and holds the position of head of the jazz voice program at SUNY Purchase Born in Queens, New York, on January 28, 1976, Cole grew up in a family with a long history of musical endeavors. Her grandmother on her mother's side, who was a pianist and singer of jazz standards, initially taught Alexis "Pennies from Heaven" and other American popular songs. Her father, also a pianist, singer, and composer, gave her initial piano lessons, albeit briefly. Moving with the family to Florida, Cole was a member of the all-county, all-state, and high-school choirs, and attended the New World School of the Arts on a Young Arts Scholarship, graduating in 1994. In addition, she took private voice lessons, theater training, psychology, philosophy, writing, and history classes, all of which formed a basis for her world-view. She did her first professional engagements as a teenager at a hotel in South Beach. Initially enrolling at the University of Miami in their jazz studies program, Cole returned to the New York area, attaining her B.A. in music in 1996 at William Patterson University in New Jersey, tutored by Nancy Marano and Todd Coolman, and studied classical voice with Nan Guptil-Crain, who was also a big spiritual influence. In 1999, Cole released her independent debut album, Very Early, featuring accompaniment from pianist Harry Pickens. In 2005, Cole returned with her sophomore solo album, Nearer the Sun, with pianist Ben Stivers. The following year, she earned her M.A. from Queens College, and then taught privately at the 92nd Street YMCA in N.Y.C. before becoming a resident instructor at the University of San Francisco, the University of North Carolina, back at Queens College, and eventually at the Berklee School of Music satellite program in Quito, Ecuador. Also around this time, Cole attended the Jazz India Vocal Institute in Mumbai (where she trained in Indian classical singing). She also participated in the Art of Jazz in Toronto, and was the music director of the Jan Hus Presbyterian Church in N.Y.C. from 2004-2006. In 2007, she delivered her third full-length album, Zingaro, which found her shifting from piano accompaniment and working with bassist Jeff Eckels and guitarist Ron Affif. Two years later, she released her first holiday-themed album, The Greatest Gift. Since the late 2000s, Cole has continued to find intriguing ways to reinvestigate American popular standards, focusing on the theme of the innocence and beauty of youth for 2010's Someday My Prince Will Come, paying tribute to the late jazz baritone saxophonist Pepper Adams on 2012's I Carry Your Heart, and going for utter sultry romanticism with 2013's Close Your Eyes. In 2014, Cole released the quartet album of standards, A Kiss in the Dark, featuring guitarist Saul Rubin, saxophonist/clarinetist Dan Block, bassist Pat O'Leary, and drummer Phil Stewart. Beautiful Friendship arrived in 2015. ~ Michael G. Nastos

Ain't We Got Fun

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Al Grey, Isauro Hernández, Wallace Davenport - Jam Session Goes Latin

Bitrate: MP3@320K/s
Time: 32:23
Size: 74.2 MB
Styles: Latin jazz
Year: 2014
Art: Front

[6:38] 1. Manteca
[4:55] 2. The Girl From Ipanema
[4:34] 3. Makin' Whoopee
[3:31] 4. What A Difference A Day Makes
[3:05] 5. What Kind Of Fool Am I
[6:27] 6. Lover Man
[3:10] 7. Miami Latin Beat

Bass: Wyatt Ruther; Conga Drums: Isauro Hernández; Drums : Rufus Jones; Piano: Noahwell Cruz; Sax & Flute: Bobby Platter; Singer: Ricardo Reyes; Trombone: Al Grey; Trumpet: Wallace Davenport.

Al Gray served in some of the most renowned jazz formations of the 40s and 50s, from Bennie Carter, Jimmie Lunceford, and Lionel Hampton to the energetic orchestras of Dizzy Gillespie or Count Basie. Al Gray also led some adventures, along with saxophonists Bruce Mitchell and Jimmy Forrest, and in recent years appeared alongside venerable musicians such as Buddy Tate or endorsing his son Mike, trombonist like him.

The laughing Al Gray was fundamental to the gestation of the bebop in the 40, endowing the rigid trombone with the energy and vividness that had imposed Charlie Parker with his style. Al Gray is undoubtedly one of the best trombonists of the "middle ages" of jazz, both because of the strong vibrations that bring his instrument, and because of the wealth of musical ideas, always very concentrated in the essential, exempt phrasing Of rhetoric. In fact, Al Gray made his debut with the Benny Carter Orchestra in 1945, and this circumstance allowed him to demonstrate from the beginning his qualities as a soloist, thanks to Carter who granted much space to the musicians of his band. This made certain natural qualities in Gray were refined, which together with his strong attack and an innate rhythmic sensitivity in the field of "swing" made him a very interesting musician. With Carter he used the excellent arrangements of this one. (Translated from Spanish.)

Jam Session Goes Latin

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Lucky Thompson - Tricotism

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 66:00
Size: 151,5 MB
Art: Front

(3:57)  1. Bo-Bi My Boy
(3:51)  2. OP Meets LT
(4:34)  3. Tricotism
(4:31)  4. Deep Passion
(4:03)  5. Old Reliable
(4:02)  6. Translation
(5:01)  7. Tom-Kattin'
(5:11)  8. A Lady's Vanity
(3:09)  9. Dancing Sunbeam
(3:32) 10. Mister Man
(4:45) 11. The Plain But the Simple Truth
(2:49) 12. Little Tenderfoot
(4:03) 13. Once There Was
(4:38) 14. N R #1
(3:11) 15. N R #2
(4:33) 16. Good Luck

Lucky Thompson creates a host of spectacular improvisations on the 16 songs on this wonderful CD reissue. It is comprised of two 1956 sessions; one features Thompson heading a trio backed by bassist Oscar Pettiford and guitarist Skeeter Best, and the other has him heading either a quartet or quintet including the great trombonist Jimmy Cleveland. Cleveland's smooth, superbly articulated phrases and statements rank alongside Thompson's gliding lines in their brilliance, and pianist Hank Jones (on three cuts) also sparkles with some marvelous solos. 

But Thompson is the star on this date, his elegant yet robust and exuberant playing demonstrating again what a loss his voluntary departure from the scene has constituted. ~ Ron Wynn http://www.allmusic.com/album/tricotism-mw0000105728

Personnel:  Lucky Thompson - tenor sax;  Jimmy Cleveland – trombone;  Hank Jones, Don Abney – piano;  Skeeter Best – guitar;  Oscar Pettiford – bass;  Osie Johnson - drums

Tricotism

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Louise Rogers - Come Ready and See Me

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 46:49
Size: 107,4 MB
Art: Front

(4:52)  1. Be My Baby
(6:54)  2. Islands
(5:43)  3. Conjunction
(3:11)  4. Come Ready and See Me
(5:13)  5. Shadows of Yesterday
(5:42)  6. The Song Is You
(5:35)  7. Poetic Song
(3:30)  8. Louise
(6:04)  9. Lass from the Low Countree

Louise Rogers proves absolutely infectious with her delightful vocals. Her expressive voice, playful scatting, and crystal-clear intonation strike the listener right off the bat. Her core group includes Rick Strong (her husband) on bass and Mathias Kunzli on drums, with pianist Matthew Fries, guitarist Paul Meyers, and saxophonist Gottfired Stoger added on a few tracks. Rogers and Strong wrote a hip tune to accompany poet Nikki Giovanni's "Be My Baby," with Kunzli's hand percussion initially serving as her sole accompaniment, adding the bass after the first chorus and scatting up a storm with it in octave unison. Jerry Bergonzi's melancholy "Conjunction" benefits from her hopeful lyrics. Rogers wrote both the words and music to the soft bossa nova "Shadows of Yesterday." Stoger's tense "Poetic Song" features demanding unison lines by the singer and saxophonist. Rogers also finds a fresh approach to the standard "The Song Is You" (adding Stoger on soprano sax) and a playful duet with Strong of the forgotten chestnut "Louise." But the biggest surprise is her setting of a traditional Celtic song, "Lass from the Low Countree," a haunting duet with Strong on electric bass. Highly recommended. ~ Ken Dryden http://www.allmusic.com/album/come-ready-and-see-me-mw0001169217

Personnel:  Louise Rogers – vocals;  Gottfried Stoger – saxophones;  Paul Meyers – guitar;  Matthew Fries – piano;  Rick Strong – bass;  Mathias Kunzli - percussion, drums

Come Ready and See Me

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Delfeayo Marsalis - Sweet Thunder

Styles: Trombone Jazz
Year: 2011
File: MP3@320K/s
Time: 71:28
Size: 164,2 MB
Art: Front

(6:07)  1. Such Sweet Thunder
(2:38)  2. Sonnet for Sister Kate
(4:48)  3. Sonnet to Hank Cinq
(9:24)  4. Half the Fun
(3:09)  5. Up & Down, Up & Down
(5:07)  6. Madness in Great Ones
(6:30)  7. Star-Crossed Lovers
(8:11)  8. Sonnet in Search of a Moor
(5:37)  9. The Telecasters
(7:53) 10. Sonnet for Caesar
(3:39) 11. Lady Mac
(8:19) 12. Circle of Fourths

Acclaimed trombonist and member of the first family of jazz, Delfeayo Marsalis launches Sweet Thunder: Duke & Shak, an original theatrical jazz production culled from live performances in thirty-six locations across the country. The play was born from Marsalis' affinity for the music of Duke Ellington and the poetry of Shakespeare: first brought to the musical stage in the 1957 production of Such Sweet Thunder at the Shakespeare Festival I Stratford, Canada. Both Ellington and Billy Strayhorn were invited to compose music in tribute to The Bard, and came up with 15 compositions for that date. Sweet Thunder streamlines Ellington and Strayhorn's original charts into a 12-movement suite, bringing an all-star list of players, including brothers Branford Marsalis and Jason Marsalis. for the recording. Staying true to Ellington's original compositions for an octet, the majority of the pieces employ an eight-man ensemble, featuring a solid horn section including soprano saxophonist Victor Goines (when Branford is not playing), altoist Mark Gross, trumpeter Tiger Okoshi, and baritone saxophonist Jason W. Marshall. When Jason Marsalis is not doing the honors, renowned drummer Winard Harper steps in, while piano great Mulgrew Miller rounds out the rhythm section.

The disc is a departure from the original Such Sweet Thunder in that Marsalis, the arranger, adds his own personal touch to the original music, injecting New Orlean-style melodic alterations along with some elements of blues, and the inclusion of poignant ballads like "Star-Crossed Lovers," "Sonnet for Caesar" and "Lady Mac." The opening title track come across a bit bluesy, with Branford leading the way on a sultry soprano march, as Delfeayo joins in with a little thunder of his own. "Sonnet to Hank Cinq" features swinging solos from each member of the horn section, providing the repertoire's first up-tempo burner. With Jason on percussions and Harper on drums, "Half the Fun" kicks in with percussive flair, as Okoshi and Branford drive music reminiscent of a snake charmer's chant. Sounding more like a traditional big band chart à la Ellington, "Sonnet In Search of A Moor" is perhaps the only classical big band pieces here, with Jason weighing in with a furious performance. A touch of New Orleans can be heard tracks including "The Telecasters" and "Up & Down, Up & Down," while the boppish, straight-ahead closer, "Circle of Fourths," highlights sizzling solos from both the Delfeayo and tenor saxophonist Mark Shim, with pianist Victor "Red" Atkins adding a closing statement to this remarkable session. The music of Sweet Thunder may not conjure up memorable phrases from the body of William Shakespeare's work, but the words "poetry in motion," seems more than adequate in describing the swing and power Delfeayo Marsalis provides, in this interpretation of a historic musical moment. 

~ Edward Blanco https://www.allaboutjazz.com/sweet-thunder-delfeayo-marsalis-troubadour-jass-review-by-edward-blanco.php

Personnel: Delfeayo Marsalis: trombone; Branford Marsalis: soprano saxophone; Jason Marsalis: drums (2, 6, 8-10, 12); Winard Harper: drums (1, 3-5, 7, 11); Tiger Okoshi: trumpet (1, 3, 5, 6, 10,11); Mark Gross: alto saxophone, tenor saxophone; Victor Goines: soprano saxophone (2, 5, 6, 8, 11,); Mark Shim: tenor saxophone (3,12); Jason Marshal: baritone saxophone; Mulgrew Miller: piano (1, 7, 9); Victor "Red" Atkins: piano (3-6, 8, 11, 12); Reginal Veal: bass (1); David Pulphus: bass (3, 4, 7, 9, 10); Charnett Moffet: bass (5, 6, 8, 11, 12).

Sweet Thunder

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John Abercrombie & Andy LaVerne - Nosmo King

Styles: Guitar And Piano Jazz
Year: 1991
File: MP3@256K/s
Time: 72:12
Size: 132,3 MB
Art: Front

(6:37)  1. I Hear a Rhapsody
(6:16)  2. Waltz For Debby
(8:59)  3. I Loves You Porgy
(3:42)  4. Blue Cycle
(6:26)  5. Silver's Serenade
(5:37)  6. Jhon's New Waltz
(6:56)  7. Babes w-Babies
(7:56)  8. My Man's Gone Now
(5:49)  9. Nosmo King
(7:47) 10. Never Never Land
(6:02) 11. Softly As In a Morning Sunrise

" Harmony is what makes this duo album work so well. Harmony between the instruments of course, but also a personal harmony between the players…these two so often think like one, it leaves plenty of room for you to sit in and listen… " (Paul B. Matthews, Cadence)

Personnel:  John Abercrombie – guitar;  Andy LaVerne – piano

Nosmo King

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Pat Martino - Live At Yoshi's

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 76:26
Size: 177,3 MB
Art: Front

( 7:00)  1. Oleo
(12:02)  2. All Blues
(10:02)  3. Mac Tough
(10:30)  4. Welcome To A Prayer
(10:29)  5. El Hombre
( 7:57)  6. Recollection
( 7:18)  7. Blue In Green
(11:05)  8. Catch

Ever since Pat Martino signed with Blue Note, we've been waiting for the release that would break things wide open while harkening back to those ground-breaking Prestige sides that had every young guitarist at the time shaking in his boots. Live at Yoshi's is definitely that record. With no gimmicks, special guests on revolving tracks, or overdubbed extras, Martino is at his expansive best, remarkably supported by Joey DeFrancesco on B-3 organ and Billy Hart on drums. The twosome of DeFrancesco and Hart alone has notched up the frequent gigging miles going back to a 1997 SteepleChase date with Doug Raney. Adding Martino to the mix just makes things all the more electrifying. The trio kicks off "Oleo" and keeps the pots on throughout the last notes of the Martino original "Catch," goaded by a boisterous and supportive crowd. The most explosive moments come during "El Hombre," the title track from Martino's very first record back in the 1960s. The guitarist utilizes an unusual twang device, which then ushers in a heated period of suspension, his repeated off-the-beat- accents working up a froth as Hart crash and bangs in full support. "Mac Tough" comes on as a funky boogaloo, the kind without which this kind of record wouldn't want to be without. On the slower side, Martino is no less engaging, "Welcome to a Prayer" being especially solid. Not much more needs to be said, except that this particular trio needs to hang out like this more often! ~ C.Andrew Hovan https://www.allaboutjazz.com/live-at-yoshis-pat-martino-blue-note-records-review-by-c-andrew-hovan__20714.php
 

Personnel: Pat Martino (guitar), Joey DeFrancesco (organ), Billy Hart (drums)

Live At Yoshi's

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Herb Ellis, Charlie Byrd - Guitar Guitar

Bitrate: MP3@320K/s
Time: 34:24
Size: 78.8 MB
Styles: Guitar jazz
Year: 1964/2009
Art: Front

[2:42] 1. Se Todos Fossem Iquais A Voce
[3:01] 2. Chung King
[3:14] 3. Carolina In The Morning
[2:43] 4. Three Quarter Blues
[3:13] 5. Take Care Of Yourself
[3:06] 6. St. Louis Blues
[2:01] 7. Jazz 'n' Samba
[2:45] 8. Oh, Lady Be Good
[4:39] 9. Things Ain't What They Used To Be
[3:34] 10. A Hundred Years From Today
[3:22] 11. Bluesette

Herb Ellis and Charlie Byrd -- two peas in a jazz guitarist's pod if there ever was one -- recorded this date in 1963 and proved how compatible their styles were. Though Ellis emphasized the amplified electric model and Byrd stuck to nylon-string acoustic, the balance of their instruments and their occasional role reversals are heard during this program of standards, blues, Brazilian tunes, and a small handful of originals. This is not a duet album, as a rhythm section with bassist Keter Betts and drummer Buddy Deppenschmidt is present, but not accounted for in the credits of the reissued CD version. Stereo separation segregates the two players, and considering the recording technology of the time, it does sound somewhat dated in a quaint, bachelor pad sort of way. None of the selections are long-winded, with Duke Ellington's "Things Ain't What They Used to Be" the most stretched in a beautiful unison swing. The two brilliantly swap overlapping lines on the waltz "Three Quarter Blues," load up on languid chords for the nostalgic ballad "A Hundred Years from Today," and lope along the backwoods trail of "Carolina in the Morning." Blues is a big factor in their playing, most prevalent during the Texas-styled swinger "Take Care of Yourself," the slowed "Lady Be Good," and the toothy "Bluesette," due to their staccato riffs digging into a deft reharmonization. The Brazilian numbers are standard fare, refined in later years by their continued association, but here they take "St. Louis Blues" to Rio in bossa nova trim, while "Jazz 'n' Samba" is fairly straitlaced. The guitarists also do a funky, contemporary number, "Chung King," which is slightly off-color for them considering the primordial soul-jazz time period. This recording is more important for what these two would do as follow-ups rather than the basic music presented here. It's not essential as a standalone CD, but good to hear for what it foreshadowed down the line. ~Michael G. Nastos

Guitar Guitar

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Roy Haynes Quartet - Out Of The Afternoon

Bitrate: MP3@320K/s
Time: 37:20
Size: 85.5 MB
Styles: Bop
Year: 1962/2016
Art: Front

[6:38] 1. Moon Ray
[6:38] 2. Fly Me To The Moon
[5:58] 3. Raoul
[4:09] 4. Snap Crackle
[5:47] 5. If I Should Lose You
[4:40] 6. Long Wharf
[3:28] 7. Some Other Spring

Out of the Afternoon is a splendid sounding 1962 set from the Roy Haynes Quartet -- which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano, and Roland Kirk on saxes, manzello, stritch, and flutes. The album is a delightful mix of techniques in arrangement and performance, with all of the musicians delivering terrific work. Haynes' drumming is absolutely wonderful here, lightly dancing around the other instruments; Flanagan's piano playing is equally light and delicate; Grimes' bass work is outstanding (during "Raoul" you have a chance to hear one of the few bowed bass solos on records of that era); and there's no more to be said about Kirk's sax and flute work that hasn't been said a hundred times, apart from the fact that the flute solos on "Snap Crackle" help this cut emerge as particularly outstanding. ~Steven McDonald

Out Of The Afternoon

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Dexter Gordon Quartet - Something Different

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 66:57
Size: 154,8 MB
Art: Front

(8:33)  1. Freddie Freeloader
(6:09)  2. When Sunny Gets Blue
(9:13)  3. Invitation
(7:48)  4. Freddie Freeloader (Take 3)
(8:03)  5. Yesterday's Mood (Take 4)
(9:55)  6. Winther's Calling
(9:03)  7. Polkadots And Moonbeams
(8:08)  8. Yesterday's Mood

What is different about this set (recorded in a particularly busy year for Dexter Gordon) is that the veteran tenor is joined by a trio (guitarist Philip Catherine, bassist Niels Pedersen and drummer Billy Higgins) that does not include a pianist. Otherwise, the music is at the same high quality level and in the same modern bop genre as one would expect. In addition to one of his originals and Slide Hampton's "Yesterday's Mood," Gordon stretches out on some standards, making a classic statement on the ballad "When Sunny Gets Blue." All of his SteepleChase albums (particularly those from the 1975-76 period) are well worth acquiring. ~ Scott Yanow http://www.allmusic.com/album/something-different-mw0000689990

Personnel:  Dexter Gordon - tenor saxophone;  Philip Catherine – guitar;  Niels-Henning Orsted Pedersen – bass;  Billy Higgins - drums

Something Different

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Stacey Kent - The Boy Next Door

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 58:29
Size: 136,8 MB
Art: Front

(3:28)  1. The Best Is Yet to Come
(3:43)  2. The Boy Next Door
(4:06)  3. The Trolley Song
(4:43)  4. Say It Isn't So
(3:28)  5. Too Darn Hot
(3:11)  6. Makin' Whoopee
(4:12)  7. What The World Needs Now Is Love
(4:21)  8. You've Got a Friend
(4:59)  9. I Got It Bad
(3:07) 10. Ooh-Shoo-Be-Doo-Bee
(3:48) 11. People Will Say We're in Love
(4:32) 12. 'Tis Autumn
(3:28) 13. All I Do Is Dream of You
(3:28) 14. I Get Along Without You Very Well
(2:31) 15. You're the Top
(1:16) 16. Bookends

Wrapping her sweet voice around songs by male singers she admires, Stacey Kent delivers another pleasant and low-key album with The Boy Next Door. Kent's tribute choices range from traditional pop (Frank Sinatra, Tony Bennett) to mainstream jazz instrumentalists (Dave Brubeck, Dizzy Gillespie) to the softer side of rock (James Taylor, Simon and unmentioned in the liner notes Garfunkel). With a gentle conviction akin to early Blossom Dearie without the cheeky flair, the album makes for breezy listening. The 16 tracks don't differ enough in tone, making the album a bit too long, but individual moments of warm openhearted excellence make it worthwhile. The sentimentality of "Bookends" or "'Tis Autumn" suit her precious delivery well, while the sly moments of "Makin' Whoopee" feel out of the singer's reach. 

The bandmembers stay out of the way for the most part, waiting for their solos rather than interacting much with Kent. Drummer Matt Home's light but lively style is especially accommodating and guitarist Colin Oxley's percussive take on "Too Darn Hot" ends up being the album's greatest moment. ~ Jeff Jeffries http://www.allmusic.com/album/the-boy-next-door-mw0000314615

Personnel:  Stacey Kent – vocals;  Jim Tomlinson – saxophones, backing vocals;  Curtis Schwartz - backing vocals;  Colin Oxley – guitar;  David Newton – piano, keyboards, backing vocals;  Dave Chamberlain – double bass;  Matt Home - drums

The Boy Next Door

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Peter Brendler - Outside The Line

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 65:53
Size: 151,1 MB
Art: Front

(3:52)  1. Freeway
(4:12)  2. Blackout Reunion
(3:16)  3. Pharmacology
(5:51)  4. Lawn Darts
(4:40)  5. Walk On The Wild Side
(5:15)  6. Blanket Statement
(7:09)  7. Una Muy Bonita
(3:36)  8. Openhanded
(8:53)  9. Drop The Mittens
(6:17) 10. Indelible Mark
(6:51) 11. The Darkness
(5:55) 12. The Golden Ring

Thirteen years after graduating from Berklee and over a decade into his career as a professional bassist, Peter Brendler has taken the plunge and released his first album as leader, Outside The Line. Look before you leap, as they say. Wise advice, if the quality of this debut is anything to go by. Brendler has already shown himself to be a bassist with a wide stylistic and dynamic range powerful and hard-driving on Jon Irabagon's wild and wacky Foxy (Hot Cup Records, 2010), in company with veteran drummer Barry Altschul; gentle and mellow alongside guitarist John Abercrombie on The Angle Below (Steeplechase Records, 2013). His playing on Outside The Line provides further evidence for his adaptability. His sound is characteristically bouncy and fat, but capable of subtle changes, twists and turns drummer Vinnie Sperrazza's lighter touch contrasts well with Brendler's tone. Three disparate cover versions adorn Outside The Line. The band kicks things off with a punchy take on Chet Baker's "Freeway," Peter Evans' muted trumpet flying over Brendler and Sperrazza's driving rhythm. Ornette Coleman's "Una Muy Bonita" is altogether gentler than the composer's version from Change Of The Century (Atlantic, 1959) thanks especially to Rich Perry's tenor sax. Perry starts out by sharing bass duties with Brendler on Lou Reed's "Walk On The Wild Side," helping out with Herbie Flowers' iconic lines while Evans takes on the melody, then takes off with a solo of his own. Sperrazza shares credit with Brendler for building the song's laid-back groove.

Brendler's own compositions cover stylistic ground from bebop to free jazz to pre-bop romance. "The Golden Ring" shares something of the rhythmic slinkiness of "Walk On The Wild Side"; "Blanket Statement" mixes Coleman-ish sections with hints of Latin grooves; "Openhanded" moves more completely into free territory. "Drop The Mittens" mixes things up a rock-solid rhythm underpins Evans and Perry's extended solos, Brendler's own fluid solo stands alone. "The Darkness" could have come straight from a '40s crime caper soundtrack bass, drums, tenor and trumpet all hinting at the heist or the hit to come. "Blackout Reunion" also harks back to the '40s, a soundtrack to a film noir affair but before things get too down, "Pharmacology" kicks in and feet are a-tappin.' Exactly what line Brendler and his chums are outside isn't totally clear. A quote from legendary American Football coach Bill Parcells adorns the album sleeve about men with odd-shaped balls and may suggest a sporting metaphor, who knows. What's clear is that Outside The Line confirms Brendler's reputation as a commanding bassist. It also establishes his credentials as a band leader hopefully this is a quartet with staying power and as a composer with a sense of stylistic adventure and an ear for a decent tune. The world really can't get enough of those. ~ Bruce Lindsay https://www.allaboutjazz.com/outside-the-line-peter-brendler-posi-tone-records-review-by-bruce-lindsay.php
 

Personnel: Peter Brendler: double bass; Peter Evans: trumpet, piccolo trumpet; Rich Perry: tenor saxophone; Vinnie Sperrazza: drums.

Outside The Line

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Steve Nelson Quartet - New Beginnings

Styles: Vibraphone Jazz
Year: 1999
File: MP3@224K/s
Time: 64:18
Size: 103,7 MB
Art: Front

(6:08)  1. New Beginnings
(6:42)  2. Danielle's Waltz
(4:58)  3. Shape Shifting
(7:53)  4. Someone To Light Up My Life
(8:00)  5. The Song Is Ended
(8:42)  6. Down Fuzz
(9:36)  7. It's Talk Of The Town
(7:44)  8. How Little We Know
(4:31)  9. Wild Is The Wind

From the ebullient first track, a Nelson original, this release is consistently elegant and swinging. Nelson can cook like Milt Jackson and harmonize like Bobby Hutcherson, but imitates neither. His composing and performing talent both sparkle in this setting, where he's joined by three other top players, each of whom gets to shine in all the seamless, generous handing-offs. Highlights include Nelson's churning "Shape Shifting," with its whiff of mystery; the funky, bluesy "Down Fuzz"; and a languid, tropical reading of "Someone to Light Up My Life," where Nelson pedals his tone like a watercolorist, and each player's solo emerges as another lovely shade. It's a fine foursome: Miller's solos are thoughtful and impeccable, his comping melodic; his unaccompanied opener and solos on the dreamy "It's the Talk of the Town" are additional high points. Unrelated by blood, the Washingtons share a talent for subtle, yet essential contributions, and Kenny really kicks on this one. The closer is an unusual up-tempo version of the haunting "Wild As the Wind," capping a set of warm, relaxed, inviting jazz. ~ Judith Schlesinger http://www.allmusic.com/album/new-beginnings-mw0000254680

Personnel:  Steve Nelson (vibraphone); Mulgrew Miller (piano); Peter Washington (bass); Kenny Washington (drums).

New Beginnings

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Norman Brown - Let It Go

Styles: Guitar Jazz, Smooth Jazz
Year: 2017
File: MP3@320K/s
Time: 55:32
Size: 128,0 MB
Art: Front

(0:41)  1. Lessons of the Spirit
(4:09)  2. It Keeps Coming Back
(6:18)  3. Let It Go
(5:16)  4. Ooh Child (feat. TrayCar)
(5:51) 5. Conversations (feat. Sisters of Unbreakable love S.O.U.L)
(4:36)  6. Living Out Your Destiny (feat. Sisters of Unbreakable love S.O.U.L)
(4:00)  7. Holding You (feat. Chanté Moore)
(4:52)  8. The North Star (feat. Marion Meadows)
(4:42)  9. Very Woman
(4:39) 10. Liberated (feat. BWB)
(5:13) 11. Remember Who You Are (feat. Kirk Whalum)
(5:10) 12. Man In the Mirror (feat. Sounds of Blackness)

Let It Go, Norman Brown's inspired 2017 debut album for Shanachie Records, has something for everyone, whether an R&B fan or a jazz aficionado. From "Holding You," his sensuous collaboration with R&B great Chanté Moore and Norman's re-imagining of the Five Stairsteps classic "Ooh Child" to the smoothly grooving "Remember Who You Are" and the serenely inspired "Let It Go," Let It Go is Norman Brown at his best. https://www.amazon.com/Let-Go-NORMAN-BROWN/dp/B01LZS6RWZ

Let It Go

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