Gregg Karukas - GK

Bitrate: MP3@320K/s
Time: 55:52
Size: 127.9 MB
Styles: Smooth jazz, Contemporary jazz
Year: 2009
Art: Front

[4:45] 1. Manhattan
[4:17] 2. Daylight
[5:25] 3. Napa Road
[4:48] 4. Floating In Bahia
[5:26] 5. Wildwood
[4:54] 6. Walkin In Time
[4:22] 7. Soul Kisses
[6:10] 8. Jamba Samba
[5:16] 9. Mesa Moon
[4:53] 10. Coyote Party
[5:30] 11. Believe In Me

While naming an album after your initials might indicate a lack of imagination, it also may be taken as suggesting that the contents are representative of the artist. Pianist Gregg Karukas once called a CD You'll Know It's Me, and GK is another collection that's easy to identify. Although he is a smooth jazz player, Karukas doesn't go in for the most contemporary styles of the genre, preferring, for instance, a live rhythm section (here including bassists Eric Baines, Melvin Davis, and Karukas himself, drummer Oscar Seaton, and percussionist Luis Conte) over programmed rhythm tracks. And his antecedents are clear, his music recalling the mid-‘60s soul-jazz of Ramsey Lewis and Cannonball Adderley. Opening tune "Manhattan," in fact, sounds like a rewrite of the 1966 Bobby Hebb hit "Sunny." And Karukas prefers that his guest soloists, here including Rick Braun (flügelhorn, trumpet), Russ Freeman (guitar), and Jessy J (saxophone), only punctuate the proceedings for the most part; although the guests are heard here and there, Karukas' fingers are never far away from his keyboards for long. Of course, it's his playing that really defines the music, and he rolls along, coming up with endless riffs and ripples without really rocking the boat. This is music that is lighthearted and, to an extent, lightweight, relying on textures and colors more than any flashy playing. Whether it turns Brazilian ("Jamba Samba") or funky ("Napa Road"), it remains subtly swinging. ~William Ruhlmann

GK

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Oscar Peterson Trio - On The Town

Bitrate: MP3@320K/s
Time: 76:50
Size: 175.9 MB
Styles: Bop, Piano jazz
Year: 1961/2001
Art: Front

[7:43] 1. Sweet Georgia Brown
[5:01] 2. Should I
[5:53] 3. When Lights Are Low
[6:49] 4. Easy Listenin' Blues
[7:19] 5. Pennies From Heaven
[5:22] 6. The Champ
[5:47] 7. Moonlight In Vermont
[6:45] 8. Baby Baby All The Time
[4:13] 9. I Like To Recognize The Tune
[8:58] 10. Joy Spring
[5:14] 11. Gal In Calico
[7:41] 12. Love Is Here To Stay

Bass – Ray Brown; Guitar – Herb Ellis; Piano – Oscar Peterson.

This reissue of Oscar Peterson's live Toronto recording in the Desert Island Discs series at Verve brings to light the question that jazz audiences were debating at the time. With Peterson's legerdemain rhythmic possibilities, his knotting, shimmering waves of notes, his insanely huge harmonic structures, and his dense clusters played in every solo, half the jazz populace wondered if all the swinging noodling might be a skillful medicine show while the other half considered it genius. No matter. One thing that everyone agreed on: No matter how busy his busy got -- and this album illustrates the rule since it's in a live setting Peterson always, always swung, particularly with Herb Ellis on guitar and Ray Brown on bass. The set opens with "Sweet Georgia Brown" and it's all bets off as to what Peterson will do next. He skitters from one melodic possibility to the next while Ellis creates a dynamic flow of fresh ideas to keep the music full and bright. There are blues here, and they are gutbucket blues. They come from Ellis' guitar during this late '50s period more than at any other time in his life. But they come from Brown and Peterson too, and that's where the argument loses the wind in its sails: Everything this trio played was rooted in a blues so pervasive, so swinging, so hot, it could not be anything but truly fine jazz. Peterson's musical appetite matched his physical stature, and it is reflected in the selections here, which all seem to segue into one another: "Should I," "When the Lights Are Low," "Pennies From Heaven," "Moonlight in Vermont," and others through to "Love Is Here to Stay." All are reinvented and reinterpreted through the science of harmonic invention and rhythmic interval unique to this Oscar Peterson Trio. And while the plates and glasses rattle and tinkle, the jazz continues to burn, full of joy and light and just a hint of smoke. In 1958 this was a night to remember; in the 21st Century it's a disc to memorize in the depths of the heart. ~Thom Jurek

On The Town

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Julie London - Julie

Bitrate: MP3@320K/s
Time: 30:54
Size: 70.8 MB
Styles: Vocal jazz
Year: 1957/2010
Art: Front

[3:01] 1. Somebody Loves Me
[2:41] 2. Dream Of You
[2:17] 3. Daddy
[2:34] 4. Bye Bye Blackbird
[2:18] 5. Free And Easy
[3:06] 6. All My Life
[1:43] 7. When The Red Red Robin Comes A Bob Bobobbin' Along
[2:28] 8. Midnight Sun
[2:29] 9. You're Getting To Be A Habit With Me
[2:37] 10. Don'cha Go 'way Mad
[2:53] 11. (Back Home Again In) Indiana
[2:40] 12. For You

Julie London made the folks at the Liberty label rich with more than 25 albums, exclusive of compilations, cut over a period of 1955 to 1969. Usually put into a torch song setting, this release allows London to shed that garment and become jazzy. The reason, of course, is the presence of the invaluable Jimmy Rowles, who did the charts, played piano, and led an orchestra of top-flight but unidentified musicians. Unidentified or not, that could well be Don Fagerquist's muted trumpet on "Midnight Sun" and other cuts and either Ted Nash or Bob Cooper on tenor on "Somebody Loves Me." That the producer is Bobby Troup also helped to assure that this session would be a swinging affair. The arrangements let London's vocals take on a different demeanor. Instead of being sultry, she becomes dazzling and sparkling. She also becomes more adept at phrasing and timing and takes a risk or two in the tradition of a jazz singer. Listen to her coax the lyrics along on "(Back Home Again In) Indiana." You'll rarely hear her on other albums take the kind of up-the-scale flyer she uses as the coda to this tune. One might argue London made only one other album that comes close to the jazz sensation that radiates from this record. That's the record featuring the small group recordings she made with the duos of Barney Kessel and Ray Leatherford and Howard Roberts and Red Mitchell, respectively, compiled on Julie Is Her Name, Vols. 1 and 2. ~Dave Nathan

Julie

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Rob Parton's Jazztech Big Band - S/T

Bitrate: MP3@320K/s
Time: 54:18
Size: 124.3 MB
Styles: Big band
Year: 1991
Art: Front

[5:43] 1. Blues For Mr. P
[5:12] 2. Laura
[5:20] 3. Sentimental Journey
[5:37] 4. Vignette For Trumpet And Flugelhorn
[5:02] 5. S'wonderful
[4:00] 6. Dreamer Of Dreams
[7:37] 7. Partin ' Shots
[5:07] 8. A Time For Love
[5:05] 9. Main Street News
[5:30] 10. Evanology

Rob Parton's first CD released by Rob Parton's JAZZTECH Big Band with Conte Candoli.

One of Chicago's busiest and most versatile trumpet players, Parton is highly regarded as a studio, theatre and jazz musician, performer, educator and band leader. As a jazz musician, Parton has performed five nights a week for the past four years as featured artist at Chicago's Catch 35. The list of musicians who have played in the Rob Parton Trio is like a who's who in Chicago Jazz.

When Parton is not working in Columbus or Chicago you will often find him directing an All-State jazz band or acting as a guest artist with many high school and college jazz programs throughout the country. He has presented concerts or clinics at the Midwest Clinic in Chicago, International Association of Jazz Educators convention, MENC and many other music educators conventions.

Rob Parton's Jazztech Big Band

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Sammy Rimington - Nuages

Bitrate: MP3@320K/s
Time: 93:08
Size: 213.2 MB
Styles: New Orleans jazz
Year: 2017
Art: Front

[ 7:31] 1. Marie
[ 6:27] 2. Jerusalem Blues
[ 8:55] 3. Down In Honky Tonk Town
[11:21] 4. Same Old Love
[ 4:41] 5. Blueberry Hill
[10:22] 6. Is It True What They Say About Dixie
[ 6:09] 7. Lonesome And Sorry
[ 8:28] 8. June Night
[ 3:13] 9. Nuages
[ 6:54] 10. While We Danced At Mardi Gras
[ 5:06] 11. Sentimental Journey
[ 8:03] 12. Panama
[ 5:51] 13. I've Always Been In Love With You

British reedman Sammy Rimington was one of the top trad musicians to emerge during the 1960s. He played with Barry Martyn in 1959, spent several years with Ken Colyer (1960-1965), and came to the U.S. in the mid-'60s, playing with Big Bill Bissonnette's Easy Rider Jazz Band. Since that time, Rimington has been heard in a countless number of settings and, other than a brief fling with a fusion band he led (Armanda in 1971), he has stuck exclusively to New Orleans revival jazz. Rimington has recorded and performed with a who's who of New Orleans jazz including Chris Barber, Kid Thomas Valentine, and Captain John Handy. Influenced strongly by George Lewis on clarinet and by Handy on alto, Rimington led many record dates of his own for small labels such as Rhythm Records in 1962; Jazz Crusade in 1963; GHB in 1966; 77 in 1969; California Condor in 1973; Storyville in 1974; Munich in 1975; Dawn Club in 1977; Beerendonk in 1977; Herman, Quines, Lulu White's, and Onward in 1979; Jazz Time in 1983; Progressive in 1985; and quite a few other labels. He continued recording as a leader and collaborator through the '90s and into the new millennium, with highlights including Reed My Lips (billed to Sammy Rimington & the Return of the Mouldy Five) on Jazz Crusade in 1999 and Visits New Orleans, recorded by Rimington with a host of Crescent City stalwarts in April 2005 (several months before Hurricane Katrina devastated the city) and released by Arhoolie in 2008. ~bio by Scott Yanow

Nuages

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Teddy Wilson Trio - Revisits The Goodman Years

Bitrate: MP3@320K/s
Time: 66:51
Size: 153.0 MB
Styles: Swing, Piano jazz
Year: 1980/2004
Art: Front

[3:02] 1. S'wonderful
[3:00] 2. Someday Sweetheart
[3:16] 3. The Sheik Of Araby
[2:58] 4. More Than You Know
[3:40] 5. Nobody's Sweetheart
[4:10] 6. Rose Room
[4:16] 7. China Boy
[2:22] 8. Sweet Sue
[2:43] 9. Moonglow
[3:17] 10. Exactly Like You
[3:36] 11. Sweet Lorraine
[3:28] 12. Whispering
[3:57] 13. How High The Moon
[4:23] 14. Keepin' Out Of Mischief Now
[4:37] 15. Don't Be That Way
[3:32] 16. Somebody Loves Me
[5:26] 17. St. Louis Blues
[5:00] 18. I'll Remember April

Teddy Wilson, age 67 at the time of these trio sides, was predictably excellent throughout his long career, never recording a dull or indifferent record. In fact, more than just about any jazz musician, his style remained immune to outside influences ever since the swing era, so do not look for any McCoy Tyner or Bill Evans chord voicings on this LP. Wilson, along with bassist Jesper Lundgaard and drummer Ed Thigpen, plays a dozen songs that he had performed with Benny Goodman during the 1935-38 period. Fun and swinging music. ~Scott Yanow

Revisits The Goodman Years

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George Colligan - Mad Science

Bitrate: MP3@320K/s
Time: 61:49
Size: 141.5 MB
Styles: Post bop, Piano jazz
Year: 2003/2010
Art: Front

[6:37] 1. Pride And Joy
[5:48] 2. Keeping Pace
[6:17] 3. Song For Obama
[2:16] 4. Birth
[6:46] 5. Interiors
[7:34] 6. The Shadow Knows
[4:26] 7. Utsukushi
[6:30] 8. Tightrope
[5:35] 9. Soulpain
[1:53] 10. The Promised Land
[8:02] 11. Anthem

George Colligan - Hammond B3 Organ; Tom Guarna - Guitar; Rodney Holmes - Drums; Gary Thomas - Tenor Saxophone, Flute.

George Colligan is a New York based pianist, organist, drummer, trumpeter, teacher, and bandleader, who is one of the most original and compelling jazz artists of his generation. An award-winning composer (Chamber Music America/Doris Duke Foundation grant recipient) and player (winner, Jazzconnect.com Jazz Competition), Colligan is highly in demand as a sideman, having worked with players like Cassandra Wilson, Don Byron, Buster Williams, and Lonnie Plaxico, both on the bandstand and in recording sessions (appearing on over 100 CDs). He has released 24 recordings full of his intelligent writing and impressive technique. Colligan’s musical style incorporates everything from showtunes to funk, from free improvisation to 20th century classical music. His performances include dazzling technique as well as mature restraint. Colligan was on the faculty of the Juilliard School for two years and is currently an Assistant Professor at Portland State University. He is currently a member of Jack DeJohnette’s New Quintet. Recently, Colligan started playing the Hammond 44 Melodion(melodica).

Mad Science

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Alan Pasqua, Darek Oleszkiewicz, Peter Erskine - My New Old Friend

Bitrate: MP3@320K/s
Time: 63:27
Size: 145.2 MB
Styles: Post bop, Piano jazz
Year: 2005
Art: Front

[4:55] 1. You Must Believe In Spring
[4:33] 2. Barcelona
[5:59] 3. Highway 14
[4:38] 4. All The Things You Are
[8:29] 5. My New Friend Old Friend
[7:18] 6. Body & Soul
[4:20] 7. One More Once
[7:03] 8. Vienna
[5:58] 9. Wichita Lineman
[4:37] 10. Stick Slap
[5:31] 11. Smile

Alan Pasqua's My New Old Friend is mostly a set of sensitive and relaxed trio improvisations. Pasqua, bassist Darek Oles and drummer Peter Erskine, three of the top jazz musicians based in Los Angeles, perform subtle reshapings of five standards which alternate with six of Pasqua's generally introspective originals. One is reminded of Bill Evans (particularly on the standards) in Pasqua's sophisticated chord voicings and the close interplay of the musicians, but that is only a point of reference rather than a direct copy. However fans of Evans' treatments of ballads will certainly enjoy this accessible and thoughtful effort. ~Scott Yanow

My New Old Friend

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Mike Ricchiuti - The Way I See It

Size: 137,4 MB
Time: 58:47
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz: Smooth Jazz
Art: Front

01. Forward Motion (5:25)
02. Up All Night (6:19)
03. Embrace (6:54)
04. The Way I See It (5:30)
05. Still Standing (5:24)
06. Just So You Know (6:05)
07. Dogs In The Neighborhood (4:44)
08. Changes (6:40)
09. Slow Roller (5:52)
10. And Then Peace (5:50)

Keyboardist, composer, Mike Ricchiuti is an emerging artist with a refreshing and contemporary approach to his playing and writing. Mike’s playing, while grounded in the jazz piano tradition, draws upon a wide variety of influences from pop to soul and funk, giving him a unique voice as an artist. His influences include Herbie Hancock, Keith Jarrett, Stevie Wonder, and many others.

Born in Brooklyn, NY, Mike grew up on Long Island, and began taking piano lessons by the age of 7. As a young boy he studied classical music but Billy Joel was his musical hero. In his late teens Mike discovered jazz piano and decided to enroll at Berklee College of Music. In the fall of 1986, Mike left for Boston and discovered a whole new world of music. There he studied with Jeff Covell, Ray Santisi, and Herb Pomeroy, among others. In 1991 he returned to NY to embark on his career, while continuing to study with Fred Hersch and Kenny Werner.

Most recently Mike has been touring with singer Patti Austin as her pianist/keyboardist and musical director, supporting her latest CD, “Avant Gershwin”. This has provided Mike with the opportunity to work with various symphonies around the world, legendary big bands like Count Basie and Duke Ellington, as well as leading his own trio. He is currently in the studio with Patti, arranging and producing tracks for her new pop/r+b record. In addition Mike has performed and recorded with guitarist Chuck Loeb. On Chuck’s latest Cd, “When I’m With You”, Mike is featured as a pianist, writer, as well as co-producer on several of the tracks. Other recent recording credits include “A New Kind of Blue” featuring Randy Brecker, and work with pianist, Bob James, saxophonist, Eric Marienthal, Gato Barbieri, Michael Franks, Spyro Gyra, David Mann, Kim Waters, and the soundtrack to “State and Main”.

Mike’s talents have also been sought out by a variety of other artists. He toured in the US and Europe with legendary funk saxophonist Maceo Parker, playing organ. Mike was hired to play in the house band for the “I Love NY” benefit concert held at the Beacon Theater in NYC for victims of the World Trade Center tragedy. On this special night, he backed up artists such as Al Jarreau, Natalie Cole, Phoebe Snow, Jeff Golub, Russ Freeman, and many others. In addition, Mike has worked with Michael Brecker, Chris Botti, Peabo Bryson, Bill Evans, Will Lee, Steve Gadd, John Patitucci, Omar Hakim, Stephanie Mills, David Foster, Jeff Kashiwa, Chieli Minucci, and Nelson Rangell.

The Way I See It

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Chick Corea - The Musician (Live)

Size: 177,8+164,9+156,7 MB

Time: 77:09+71:35+67:57

File: MP3 @ 320K/s

Released: 2017

Styles: Jazz

Art: Front

CD 1:

01. Captain Marvel (Feat. Return To Forever) ( 8:16)

02. Light As A Feather (Feat. Return To Forever) (14:14)

03. I Hear A Rhapsody ( 9:24)

04. Spirit Rides (Feat. John McLaughlin) (13:02)

05. Special Beings (Feat. John McLaughlin) (16:42)

06. I've Got The World On A String (Feat. Bobby McFerrin) ( 5:54)

07. Spain (Feat. Bobby McFerrin) ( 9:33)

CD 2:

01. Overture (Feat. Gary Burton) ( 7:58)

02. Your Eyes Speak To Me (Feat. Gayle Moran Corea) ( 4:32)

03. If I Were A Bell (22:08)

04. Nefertiti (10:56)

05. Zyryab (Feat. Flamenco Heart) (16:38)

06. Mi Nina Lola (Feat. Flamenco Heart) ( 9:20)

CD 3:

01. CC's Birthday Blues (Feat. Wynton Marsalis) ( 9:28)

02. Caravan (Feat. Marcus Roberts) ( 8:50)

03. Hot House (Feat. Herbie Hancock) ( 4:35)

04. Dolphin Dance (Feat. Herbie Hancock) ( 9:11)

05. Cantaloupe Island (Feat. Herbie Hancock) ( 6:37)

06. Ritual (Feat. Chick Corea Elektric Band) (13:40)

07. Silver Temple (Feat. Chick Corea Elektric Band) (15:33)

Renowned keyboardist Chick Corea has announced the upcoming release of a live album and documentary film set entitled The Musician. The live audio/video release captures Corea’s 70th birthday celebration concerts held at the legendary Blue Note Jazz Club in New York City in 2011.

Concord music group will issue the 3-CD/Blu-ray. Corea is featured alongside 10 different bands and a total of 28 fellow legendary musicians. Those who appear on The Musician with Corea include Herbie Hancock, Bobby McFerrin, Wynton Marsalis, John McLaughlin, Stanley Clarke, Chick Corea Elektric Band and Return to Forever, among others. The recordings total almost four hours of live performances.

The Musician Disc 1

The Musician Disc 2 

The  Musician Disc 3 

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Ray Charles - Rough Guide To Ray Charles

Size: 159,6 MB
Time: 68:13
File: MP3 @ 320K/s
Released: 2017
Styles: Soul, Jazz, R&B
Art: Front

01. Come Rain Or Come Shine (3:38)
02. What'd I Say (Parts 1 & 2) (5:02)
03. Lonely Avenue (2:32)
04. I Got A Woman (2:50)
05. Georgia On My Mind (3:32)
06. Ray Charles (2:32)
07. Drown In My Own Tears (3:18)
08. Early In The Morning (2:44)
09. Night Time Is The Right Time (3:24)
10. Mess Around (2:37)
11. I Believe To My Soul (2:58)
12. Mary Ann (2:43)
13. Come Back Baby (3:03)
14. This Little Girl Of Mine (2:29)
15. Sinner's Prayer (3:20)
16. Talkin' 'bout You (2:48)
17. A Fool For You (2:59)
18. Let The Good Times Roll (2:49)
19. Blackjack (2:17)
20. I Had A Dream (2:50)
21. Tell Me How Do You Feel (2:39)
22. It Should've Been Me (2:40)
23. I'm Moving On (2:17)

The undisputed ‘genius of soul’, Ray Charles’ golden period is presented here with a handpicked selection of tracks from his 1950s heyday. A true innovator and inspiration to soul singers and rock vocalists alike, Ray Charles transcended racial boundaries and changed the shape of popular music.

‘I was the first one who started soul,’ Ray Charles said when the compiler of this collection interviewed him shortly before his death in 2004. ‘I was raised in the church and I knew gospel music. But I knew rhythm and blues too, because that was the music you heard in the neighbourhood. And I thought, ‘that’s my sound.’ I put those two things together and they called it soul music.’

To interview Ray Charles was a privilege. But to hear him sing was heaven and the tracks included here, recorded between 1953 and 1960, constitute not only the peak of his genius but were a fountain of inspiration that changed the shape of popular music across racial boundaries, influencing black soul singers such as Stevie Wonder, Marvin Gaye and Otis Redding and white rock vocalists like Joe Cocker, Steve Winwood and Van Morrison.

Ray Charles Robinson was born into acute poverty in rural Georgia in 1930 and had a tragic upbringing. He witnessed his brother drown as a young child, was blind from the age of seven and lost his mother when he was 15. ‘Music was the only thing that kept me breathing and gave me a way to pick myself up,’ he told this writer.

At blind school he learnt to read and write music in braille and began his recording career for the Downbeat label in 1949, singing in a smooth, crooning style modelled on Nat ‘King’ Cole and Charles Brown.

He enjoyed some early success but it was not until he signed to Atlantic Records in 1952 that he began to develop his own style and, with the encouragement of label owner Ahmet Ertegun, moved away from his ‘cool’ sound towards a more urgent and emotional approach with its roots in blues and gospel.

The turning point came on 1954’s ‘I Got A Woman’. A huge hit, the song was also highly controversial for its fusion of gospel fervour and carnal lyrics which even Charles’ religious wife admitted shocked her when she first heard it.

The controversy soon subsided and a string of unforgettable hits followed, including ‘This Little Girl Of Mine, Drown In My Own Tears’, ‘Hallelujah I Love Her So’, ‘Lonely Avenue’, ‘Talking ‘Bout You’, ‘I Believe To My Soul’ and ‘The Night Time Is The Right Time’, all of which are included here. On these recordings, Charles fused jazz, gospel, swing, blues, r&b and balladry, which, as Van Morrison put it, were ‘rolled together into one amazing, soulful thing.’

He left Atlantic at the end of the 1950s and although there were still some great records to come, few would argue that the tracks included here represent his golden period when he was the undisputed ‘genius of soul’

Rough Guide To Ray Charles

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Sylvia Bennett - For You

Size: 101,7 MB
Time: 38:56
File: MP3 @ 320K/s
Released: 201/
Styles: Jazz/Pop Vocals
Art: Front

01. For You (3:41)
02. Stay With Me (3:39)
03. Two Hearts One Soul (3:56)
04. I Never Thought (3:21)
05. Fly Me To The Moon (2:30)
06. Smile (Lounge Version) (3:47)
07. Loving You (3:48)
08. Look Of Love (Smooth Pop Version) (3:43)
09. Make Someone Happy (3:31)
10. Glad To Know (3:07)
11. Smile (Chill Version) (3:49)

Sylvia Bennett continues her journey into smooth original music… her brand new album FOR YOU, delivers another successful set of contemporary, sensuous songs from the Grammy-nominated, Miami-based vocalist and songwriter. On the heals of IT’S ALL ABOUT LOVE, which climbed up to #24 in 2016 on SmoothJazz.com’s Top 50 Album Airplay Chart. The new release features the successful collaborative combo with Ms. Bennett’s longtime producer and writing partner, Hal S. Batt. The renowned Miami producer and After Hours studio owner has worked with some of the biggest names in Miami recording history including Ricky Martin, Julio Iglesias, Regina Belle and many more. Also, this go around, Sylvia invites Hungarian violinist and bandleader Peter Ferencz, from the Smooth Jazz Pop ensemble, Peet Project. Modern love songs, jazzy chilled arrangements, heart string-tugging vocals and sophisticated musicianship… FOR YOU is for all of us!

For You

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Martial Solal, Johnny Griffin - In & Out

Bitrate: MP3@320K/s

Time: 46:57

Size: 107.5 MB

Styles: Piano jazz, Saxophone jazz

Year: 2000

Art: Front

[7:13] 1. You Stepped Out Of A Dream

[6:10] 2. Come With Me

[4:45] 3. In & Out

[6:35] 4. Hey Now

[6:05] 5. Oreille Hardie

[6:37] 6. When You're In My Arms

[4:29] 7. Neutralisme

[4:59] 8. Well You Needn't

Piano – Martial Solal; Tenor Saxophone – Johnny Griffin. Recorded at Studio Damiens, Boulogne-Billancourt, France, June 29-30 & July 1rst, 1999.

Algerian born pianist Solal and American expatriate tenor saxophonist Griffin are perfectly matched in this series of duets, brilliant beyond compare and witty to the nth degree. Both are in their seventies and playing better than ever. Griffin has everything going for him in terms of experience, restraint, emotional depth, and potential explosiveness. Solal, an unsung hero in jazz, shows the years that have passed did not sour him on concepts of stark romanticism, improvisational risk taking, or fear of cutting loose; he clearly can do it all. These eight selections are bookmarked by only two standards: the easily swung 4/4 evergreen "You Stepped out of a Dream" where Griffin's tender, lean bop lines are followed by Solal, step by step, then traded off near the end, and the Thelonious Monk icon "Well, You Needn't" that has Griffin honking a bit, Solal even more angular and at times dour. The two are quite playful on this one, messing around delightfully. Griffin penned three of these. The half-speed blues title cut is quaintly rendered in stride by Solal while the tenor uses quarter notes almost exclusively. "Hey Now" is a good swinger with some staggered phrasing in and out of the melody line for the pianist, with Griffin more animated, Solal dishing out a memorable solo, and the two trading furiously by the final out. Griffin is a pure sentimentalist as expressed on his ballad "When You're in My Arms." Of Solal's three compositional contributions, one is the lilting and bouncy title track. The quirky, ever-changing meter and timbre of "L'oreille Est Hardie" is based in 4/4 but mutates before one's ears, Solal's unbelievable solo brimming in technique and soul, slavish to neither. Multi-faceted melodies on "Neutralisme" are played together, some astonishingly quick others, swapped like Willie Mays and Hank Aaron cards, both being of equal and potent value, all world class. That Solal and Griffin are utterly brilliant musicians is not in dispute, but together they make magic, and creatively or musically, how could these two possibly go wrong? The fact is they can't on this highly recommended recording. ~Michael G. Nastos

In & Out 

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Ricardo Baldacci Trio - Tain't What You Do, It's The Way That You Do It

Bitrate: MP3@320K/s
Time: 56:56
Size: 130.4 MB
Styles: Contemporary blues
Year: 2013
Art: Front

[3:56] 1. You Make Me Feel So Young
[2:42] 2. Because Of You
[3:41] 3. Tain't What You Do (It's The Way That You Do It)
[4:24] 4. Baldacci's Blues
[2:53] 5. (I Love You) For Sentimental Reasons
[4:21] 6. The Frim Fram Sauce
[3:49] 7. It's Only A Paper Moon
[3:41] 8. Is You Is Or Is You Ain't (My Baby)
[5:19] 9. Baby All The Time
[4:30] 10. All I Need Is The Girl
[3:15] 11. S Wonderful
[3:32] 12. Do The Lindy Hop
[4:28] 13. Sutra's Blues
[3:20] 14. Come Fly With Me
[2:58] 15. I Can't Give You Anything But Love

Influenced by Nat King Cole, Frank Sinatra, John Pizzarelli, Brazilian singer/guitarist Ricardo Baldacci leads his drumless trio, backed up with piano and double bass. He sings and plays the classic repertoire of the Great American Song Book and has been called as "The reference for Swing Jazz music in Brazil" (Jornal A Tarde, Salvador / BA) .

In just over four years as a professional, Baldacci collects memorable presentations. In Made In New York Jazz Festival (USA), held at a packed Tribeca Arts Center he shared stage with legends Lenny White and Randy Brecker. Baldacci also had a standing ovation performance at the Municipal Theatre of Asuncion, during the XV International Jazz Festival of Paraguay. While in Sweden, he played for a huge crowd of dancers, in the 30th. Anniversary of Herrang Dance Camp Festival (the most traditional Lindy Hop Festival), and won the Swing Battle Award. In Brazil, Ricardo Baldacci made many shows in several festivals and was the main attraction of famous venues like Terraco Italia and L'Hotel Porto Bay. The work of Ricardo Baldacci has increasingly been gaining ground in national and international markets; singer / guitarist keeps swinging and entertains the audience of Sao Paulo and other places in the world.

In 2013, Ricardo produced and released 'Tain't what you do, it's the way that you do it', his first album with national and international distribution . The recording had the precious collaboration of Swedish vocal trio, The Hebbe Sister, and also featured the award-winning virtuoso pianist, Hercules Gomes and Ricardo Ramos on acoustic bass. This release was broadcasted on Radio Eldorado (Jazzmasters and The Jazz Face) and USP FM (Jazz Caravan). The CD also received positive reviews in newspapers like O Globo (Rio de Janeiro / RJ), A Tarde (Salvador / BA) and Hoje em Dia (Belo Horizonte / MG).

Tain't What You Do, It's The Way That You Do It

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Rosa Passos - Curare

Bitrate: MP3@320K/s
Time: 46:38
Size: 106.8 MB
Styles: Vocal jazz
Year: 1991/2008
Art: Front

[3:06] 1. Curare
[2:38] 2. Fotografia
[3:08] 3. Tim Tim Por Tim Tim
[3:40] 4. Coisa Mais Linda
[4:40] 5. Dindi
[5:12] 6. Aquarela Do Brasil
[3:37] 7. A Felicidade
[3:19] 8. Folha Morta
[3:36] 9. Só Danço Samba
[3:34] 10. Sim Ou Não
[2:48] 11. O Nosso Amor
[4:06] 12. Adeus América (Eu Quero Um Samba)
[3:08] 13. Ilusão À Toa

This is Rosa Passos' third album and represented the first exclusive release in CD format by a singer in Brazil. Here she delivers with acknowledged competence her delicate and at the same time swinging style. Her small voice's splendid intonation is tailored to the interpretation of charming hits by Tom Jobim ("Fotografia," "Dindi," "A Felicidade," "Só Danço Samba," "O Nosso Amor"), Johnny Alf ("Ilusão Á Toa"), Carlos Lyra/Vinícius de Moraes ("Coisa Mais Linda"), Ary Barroso, Djavan, and other important composers. Also an arranger, she signed most of the excellent band's parts, with the renowned orchestrator Waltel Branco writing the string arrangements.

Curare

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Bill Charlap Trio - 's Wonderful

Bitrate: MP3@320K/s

Time: 56:26

Size: 129.2 MB

Styles: Piano jazz

Year: 1999/2014

Art: Front

[6:33] 1. Time After Time

[6:04] 2. My Shining Hour

[4:33] 3. The Blue Room

[4:15] 4. Boy, What Love Has Done To Me

[6:14] 5. Isfahan

[5:16] 6. Lover

[6:50] 7. Something To Live For

[5:02] 8. 's Wonderful

[6:50] 9. Summer Serenade

[4:48] 10. Only The Lonely

Bass – Peter Washington; Drums – Kenny Washington; Piano – Bill Charlap.

Best known for his work with Gerry Mulligan and later Phil Woods during the 1990s, pianist Bill Charlap was clearly developing rapidly on his own record dates. Beginning with a crisp rendition of "Time After Time," Charlap, with a formidable rhythm section of bassist Peter Washington and drummer Kenny Washington, explores a nice mix of standards and jazz classics. His refreshing approach to "Lover" initially adds a Latin rhythm to the sprightly waltz before launching into overdrive. The less familiar material, including a jaunty take of George & Ira Gershwin's "Boy, What Love Has Done to Me" and a breathtaking solo interpretation of Jimmy Van Heusen's dreamy ballad "Only the Lonely," is equally rewarding. The sound on this studio date is so intimate that it sounds as if the listener is sitting right next to the piano. This exquisitely packaged Japanese release is very highly recommended.

's Wonderful

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Pearl Django - Chasing Rainbows

Bitrate: MP3@320K/s
Time: 49:18
Size: 112.9 MB
Styles: Gypsy jazz
Year: 2005
Art: Front

[3:56] 1. No. 19
[4:14] 2. Bluesette
[2:59] 3. Samba Du Caberet Rouge
[4:15] 4. Tres Palabras
[3:17] 5. I Never Knew
[3:55] 6. Besame Mucho
[3:22] 7. Long Gone
[3:15] 8. Trois Et Deux
[3:39] 9. La Vie En Rose
[3:03] 10. Gypsy-Attle
[3:48] 11. September Song
[5:03] 12. You Must Believe In Spring
[4:24] 13. Boise Jump

With their eighth release, Pearl Django is broadening their musical horizons. The new CD features three guest artists and some exceptional new compositions by members of the group.The wonderful guitarist, Patrick Saussois, from Paris, joins Pearl Django on three tracks and has contributed an original tune to the mix. One of Seattle's best drummers, Mark Ivester is found on one cut of the previous CD, but is truly featured on five tracks of the new CD. Mark's drumming kicks the energy up a a few notches. And accordionist, David Lange, who can be heard on previous Pearl Django CDs, contributes some of his most tasteful playing ever.

Chasing Rainbows

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Hank Mobley - Thinking Of Home (Limited Edition)

Bitrate: MP3@320K/s
Time: 42:49
Size: 98.0 MB
Styles: Saxophone jazz
Year: 2002
Art: Front

[10:04] 1. Suite Thinking Of Home The Flight Home At Last
[13:01] 2. Justine
[ 5:32] 3. You Gotta Hit It
[ 5:34] 4. Gayle's Groove
[ 8:37] 5. Talk About Gittin' It

Bass – Mickey Bass; Drums – Leroy Williams; Guitar – Eddie Diehl; Piano – Cedar Walton; Tenor Saxophone – Hank Mobley; Trumpet – Woody Shaw. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on July 31, 1970.

This is a good later Hank Mobley Album. The group is made up of some fantastic musicians, Woody Shaw is one of my favorite trumpeters, and Cedar Walton is a fine pianist, very well suited for Mobley's style and conception. There's some great guitar work from Eddie Diehl and the rest of the rhythm section is solid, with Mickey Bass on bass and Lex Humphries behind the kit. The tunes are originals, four from Mobley and one from Bass. Highlights are the title track, a suite that is made up of three different but connected pieces, and "Justine," a little more open and contemplative than the general Mobley mold. The latter is stretched out for thirteen minutes, and features good work from Shaw, Walton and Diehl, but Mobley is a little choppy and doesn't seem to know what to do with the bridge. The rest of the tunes are a little more casual and the feel is more relaxed and less serious.

Though Mobley sounds kind of drunk at times throughout this album, it's a worthwhile purchase for someone who has decided they like Hank Mobley and want to see some later work. It's not a great first Mobley album just because there are some earlier ones, like Roll Call, that are classics and should be appreciated first. ~Michael Hardin

Thinking Of Home (Limited Edition)

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Tracie Bennett - Tracie Bennett Sings Judy

Bitrate: MP3@320K/s
Time: 42:22
Size: 97.0 MB
Styles: Vocal
Year: 2012
Art: Front

[3:52] 1. I Can't Give You Anything But Love Just In Time
[3:18] 2. I Could Go On Singing
[3:04] 3. Smile
[3:49] 4. Medley For Me And My Gal,You Made Me Love You,The Trolley Song
[2:54] 5. Zing Went The Strings Of My Heart
[4:20] 6. The Man That Got Away
[3:34] 7. Come Rain Or Come Shine
[3:21] 8. When You're Smiling
[3:35] 9. Over The Rainbow
[3:29] 10. San Francisco
[3:23] 11. When The Sun Comes Out
[3:36] 12. Get Happy By Myself

Best known for her roles in theatre, both dramatic and musical, Bennett has received two Olivier Awards for Best Supporting Role in a Musical for her performances in the musicals She Loves Me and Hairspray with an addition nomination for her work in High Society. Bennett was also nominated for the Olivier Award for Best Actress in a Musical for Mrs Henderson Presents while her performance as Judy Garland in End of the Rainbow earned her an Olivier nomination for Best Actress in a Play and a Tony Award nomination in the same category when the production transferred to Broadway.

In February 2010, Bennett took on the role of Judy Garland in the first London production of Peter Quilter's play, End of the Rainbow. The production premiered with Tracie Bennett playing Judy Garland at Northampton's Royal Theatre, and subsequently transferred to London's West End where it was a critical success. Bennett received an Olivier Award nomination for Best Actress for her performance. The production transferred to Broadway in March 2012, with Bennett reprising her role. For her performance in the Broadway production, Bennett received a Tony Award nomination for Best Leading Actress in a Play, and won the Outer Critics Circle Award and Drama Desk Award for Outstanding Actress in a Play.

Tracie Bennett Sings Judy

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Matthias Lupri Group - Metalix

Bitrate: MP3@320K/s
Time: 71:52
Size: 164.5 MB
Styles: Modern jazz
Year: 2006
Art: Front

[1:34] 1. Metalix Iv Prelude
[7:52] 2. Wondering & Wandering
[7:46] 3. (Another) Lost Creek
[1:32] 4. Still
[6:38] 5. (Still) Lingering
[7:17] 6. Glass Stairs
[2:24] 7. Metalix
[1:39] 8. Metalix Abstract
[8:29] 9. Dream Nocturne
[3:37] 10. Ghost Clusters
[1:02] 11. Lonely Interlude
[4:56] 12. Flowers For Mary Jane
[1:28] 13. Td Vibe Intro
[9:44] 14. Time Design
[3:35] 15. Wondering & Wandering Reprise
[2:13] 16. Metalix Deja Vu

Matthias Lupri: vibraphone, electronics; Myron Walden: alto and soprano saxophones, bass clarinet; Donny McCaslin: tenor and soprano saxophones, alto flute; Nate Radley: guitar, electronics; Thomas Kneeland: acoustic bass, electronics; Jordan Person: drums, percussion.

While Same Time Twice (Summit, 2002) found vibraphonist Matthias Lupri emerging as a noteworthy contemporary jazz composer, Transition Sonic (Summit, 2004) represented a significant compositional leap. Lupri fashioned a suite of pieces that, while generally unrelated thematically, ultimately created a longer, more complex narrative whose whole was greater than the sum of its parts. With Metalix Lupri continues honing that process.

This album bears some comparison to Pat Metheny Group's The Way Up (Nonesuch, 2005). Not to say that the two records are stylistically the same—they're not. Nor, to be honest, is Lupri as advanced a writer, possessing the same level of orchestral skill as Metheny and his long-time partner, Lyle Mays. The Way Up centers on some specific motifs that pop up in various ways throughout its 68-minute duration. The sixteen pieces on Metalix, while sonically linked, are more discrete. Still, the four idiosyncratic "Matalix tracks are loosely related and the upbeat "Wondering & Wandering makes an appearance at both ends, giving the recording a distinct arc and sense of emotional completeness. Like Metheny and Mays, Lupri often favours irregular meters and shifting bar lines, even as he couches them in melodies so engaging that any complexities are only noticeable on deeper analysis. Metheny Group records, while never short on captivating solos, weigh more heavily on the compositional side of the equation. Lupri, on the other hand, makes great use of the orchestral possibilities of his sextet but clearly favours the improvisational side.

On Metalix Lupri features two rising stars of the New York scene—saxophonists Myron Walden and Donny McCaslin—along with three lesser-known players who have worked with Lupri over the past few years—guitarist Nate Radley, bassist Thomas Kneeland and drummer Jordan Person. Everyone solos with total conviction, and while Radley leans perhaps a tad heavily on an approach that resembles Metheny filtered through Kurt Rosenwinkel, his playing has grown considerably since Transition Sonic and continues to demonstrate real promise. Lupri, too, continues to grow as an improviser. He blends innate lyricism with a remarkable textural sensibility. He cites Gary Burton as a strong influence, and it's no surprise that his approach also shares some common ground with Metheny, who first cut his teeth in Burton's group in the 1970s. "Glass Stairs, with its cymbal-driven pulse, could easily fit within Burton's ECM ouevre. But Lupri also incorporates electronics into his palette, even more so than on Transition Sonic, and so while the roots of Metalix are clear, so too are its contemporary innovations.

At times powerful, at times delicate, this recording also finds Lupri exploring freer territory. For example, he segues the abstract "Ghost Clusters into the plaintive bass clarinet solo of "Lonely Interlude, and ultimately the dark and blues-informed "Flowers for Mary Jane." Lupri is growing as an artist with a capacity to develop long-form concepts and improvise passionately and intelligently. He continues to learn and grow with each album, and Metalix is unequivocally his most evolved and compelling effort to date. ~John Kelman

Metalix

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