Horace Parlan - Headin' South

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 41:42
Size: 96,9 MB
Art: Front

(4:29)  1. Headin' South
(5:55)  2. The Song Is Ended
(6:00)  3. Summertime
(5:29)  4. Low Down
(4:23)  5. Congalegre
(5:28)  6. Prelude To A Kiss
(4:33)  7. Jim Loves Sue
(5:22)  8. My Mother's Eyes

On the surface, Headin' South is another set of bluesy soul-jazz, but it actually finds the Horace Parlan trio stretching out a little. Adding conga player Ray Barretto to his usual rhythm section of bassist George Tucker and drummer Al Harewood, Parlan decides to take chances with his standard-heavy repertoire. "Summertime" features some evocative bowing from Tucker, and the solo sections on "The Song Is Ended," "Prelude to a Kiss," and "My Mother's Eyes" offer probing, intriguing tonal textures that make the selection of Ahmad Jamal's "Jim Loves Sue" understandable. Barretto's "Congalegre" is a fun, Latin-inflected number, and Parlan's "Headin' South" is a strong, swinging blues, but the slow blues "Low Down" is nearly undone by his incessant circular arpeggio, which lasts for over a minute. Still, that's not nearly enough to sink the record, which is another understated but solid effort from Horace Parlan. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/headin-south-mw0000710182

Personnel: Piano – Horace Parlan; Bass – George Tucker;  Congas – Ray Barretto;  Drums – Al Harewood. 

Headin' South

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Marc Copland - Poetic Motion

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 60:13
Size: 140,7 MB
Art: Front

(6:49)  1. Second Sight
(4:40)  2. Blackboard
(7:45)  3. Not Going Gently
(6:49)  4. Nevertheless
(7:37)  5. Spartacus Love Theme
(7:20)  6. When We Met
(6:33)  7. Bittersweet Road
(7:25)  8. Dark Territory
(5:12)  9. Naima

There is a simple beauty to Marc Copland's solo piano playing. Sensitive and quiet, the pianist prefers slower, relaxed tempos in which the wood from the piano resonates gorgeously. Some might confuse it with so-called "elevator music," but that would be a serious mistake, for Copland, although here not too adventurous, performs with the experience and skill of the master. His attack is precise and fine, like waves slapping gently at the shore. He builds intensity in his own way, with small clusters caressing the edges. He takes liberties, too, with tempo and even harmonics, though at heart he remains a conservative player. As a composer, he is somewhat dull and his tunes are unlikely to be played too often, if at all, by others. Yet, he is a commanding presence of sorts, an individualist who eschews the radical freedom of the avant-garde, but who does not embrace traditional approaches to the piano either. There are classical influences, to be sure, and when he interprets John Coltrane's "Naima," the nature of Copland's approach seems clearer. He uses space effectively, and with a tender delicacy skirts the melody and pillows lush chords in logical progression. While Copland is wonderful background fare, he is more than that, too, and this recording his first solo release is a fine example of what he is capable of accomplishing. ~ Steve Loewy http://www.allmusic.com/album/poetic-motion-mw0000434330

Personnel:  Piano – Marc Copland

Poetic Motion

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Somi - Petite Afrique

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 52:57
Size: 122,3 MB
Art: Front

(1:42)  1. Disappearing Act I
(5:15)  2. Alien
(3:05)  3. Black Enough
(4:07)  4. The Wild One
(5:28)  5. They're Like Ghosts
(5:21)  6. The Gentry (feat. Aloe Blacc)
(3:49)  7. Kadiatou the Beautiful
(5:05)  8. Holy Room
(1:15)  9. Disappearing Act II
(3:12) 10. Let Me
(4:29) 11. BLUE
(1:10) 12. Go Back to Your Country (Interlude)
(4:55) 13. Like Dakar
(3:57) 14. Midnight Angels

Somi's debut on the Okeh imprint The Lagos Music Salon (Okeh, 2014) pulled no punches. It tackled tough topics within an African framework, bringing hard truths to bear in soulful fashion. This follow-up is equally impactful, but it shifts focus stateside, eyeing the titular Harlem neighborhood that Somi calls home now.  In addressing life along 116th Street, Somi opens eyes to the cultural ideals and struggles associated with the working class immigrants that reside there while also touching on broader social issues. As with its predecessor, Afrocentric thoughts dominate. But New York, not Nigeria, is the scene for these stories. The album opens with modern field recordings and subway sounds that track toward "Alien," Somi's brilliant repurposing of Sting's "Englishman In New York." While Sting used it to lightheartedly play British standards against American society, Somi uses it as a more somber and serious vehicle to express issues of xenophobia and isolation felt by the African community in America. 

It's but one of many instances where cool musical foundations support heavy issues. As the program continues, Somi's blend of musical sleekness and topical potency continues to carry the day. There's a taste of Afrobeat nouveau in "The Wild One," a slow and soulful "They're Like Ghosts" that's tied to love and yearning for what's been lost, a spryly bounding "The Gentry" that invites vocalist Aloe Blacc to join in on the telling of a tale about the showdown between Harlem's past and present, a positive "Holy Room" that serves as a testament to faith and love while also addressing Islamophobia, and a "Like Dakar" that bridges Mother Africa and Petite Afrique, touching on highs and lows painted in memories. While Somi's mesmerizing vocals are the delivery system that gets each and every point and song across, her band is every bit as important to this project. In bringing together Liberty Ellman's mutable guitar and Toru Dodo's glazed chords, placing them atop vibrant yet understated grooves provided by bassist Michael Olatuja and drummer Nate Smith, adding a touch of strings or a standout guest to color the mix, and occasionally augmenting the band with a horn section that includes trumpeter Etienne Charles, alto saxophonist Jaleel Shaw, and multi-reedist Marcus Strickland, Somi creates a sonic recipe for success. The music and the messages on Petite Afrique prove to be inextricably linked, and it shouldn't be any other way. Somi has crafted another smooth-flowing collection that's both affecting and intoxicating. ~ Dan Bilawsky https://www.allaboutjazz.com/petite-afrique-somi-okeh-review-by-dan-bilawsky.php

Personnel: Somi: vocals; Liberty Ellman: guitar; Nate Smith: drums; Toru Dodo: piano, Rhodes; Michael Olatuja: bass; Keith Witty: percussion, guitar; keyboards, sample programming; electric bass; Marika Hughes: cello (2); Etienne Charles: trumpet (3, 6), mouth percussion (3), percussion (6, 10, 13); Jaleel Shaw: alto saxophone (3, 6, 13); Marcus Strickland: tenor saxophone (3, 6, 13), bass clarinet (13); Mazz Swift: violin (5); Dana Lyn: violin (5); Jessica Troy: viola (5); Aloe Blacc: vocals (6).

Petite Afrique

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Teresa Salgueiro - O Horizonte

Size: 102,4 MB
Time: 44:10
File: MP3 @ 320K/s
Released: 2016
Styles: World, Folk, Fado
Art: Front

01. Horizonte (4:25)
02. Desencontro (3:06)
03. A Cidade (3:50)
04. Instante (4:39)
05. A Esperança (3:22)
06. O Vento (3:13)
07. Exodo (5:12)
08. A Luz (3:03)
09. Maresia (3:59)
10. Ceu (3:39)
11. Liberdade (3:03)
12. Entardecer (2:34)

There have long been two sides to singer Teresa Salgueiro's musicality: the first as a master interpreter of a song and the second a gifted songwriter. Ever since Salgueiro left the band Madredeus after 20 years of recording and touring she began a career where she first gave emphasis on covers and guest appearances but soon she blossomed into a serious and distinct songwriter. After three decades as one of the most distinct world chanteuses, what's most heartening is that singer Teresa Salgueiro is not only making some of the finest music of her career at a time when many artists would be treading water, but she has confounded expectations at the same time. With her outing O Horizonte, she shows that she's singin and writing at the top of her game.

The release of O Misterio marked the beginning a new chapter of her career and no wonder she herself sees it as her real debut record unlike the multitude of cover records she had made prior. O Misterio revealed such a depth of songwriting talent that one felt why not putting her mind to it earlier. O Horizonte not only confirms her songwriting talents but takes the music and the talent further and deeper.

From the opening title track right through to the closing "Entradecer" what is evident is that this a hypnotic collection of evocative, yet sparsely orchestrated tender songs that move along with a subtle and undeniable ease. This record has a sense of completeness and integrity. Enveloped by a unique atmospheric sound and melodies, it's her vocals that serve as a main melodic instrument. Salgueiro's vocals resonate with a poetic passion. One moment it sounds delicate and fragile and the next she gives the impression that a tremendous power is going to be unleashed.

The opening track exemplifies the album's sublimity and unearthly feel with its ambient/classical feel and sets the tone for the rest of the record. "Desencontro" is where the ambiance and the mood start lifting up. The sparse arrangements rely on quietly bubbling accordion, melodic guitars with intermittent percussion added for depth, not drive. "A Cidade" and "Instante" are tender ballads on which Salgueiro merges surrender, tenderness, and confidence.

These songs resemble the melodicity and the tender nature of one of Madredeus' finest moments "O Espirito Da Paz." The acoustic instruments, the melancholy, the strikingly intimate and vulnerable voice within the songs do recall the feel of this very fine record. This is best felt on tracks such as the heart rendering "Maresia" and the gorgeous "O Vento." On "O Vento" she is backed by a pulsing accordion and a lilting guitar the song's melody swirls and twists gently and unobtrusively. But the sparse arrangements and the harmonies overall tell a different story as the songs she has written emphasize the beautiful tonality of her voice. With her band, she is able to create aural portraits of love, loneliness, brokenness, devotion, and alienation.

"Exodo" is a song that reflects the horrors of refugees in the recent refugee crisis when Europe was flooded with Syrian refugees. Starting with sounds of guns and war, Salgueiro's band paints a melancholy aural canvas while her singing exhibits a heartfelt depth. There is an elegiac quality to her voice on "Ceu" and the music matches the melancholy of her lyrics and vocals. Not everything is melancholic and subdued. "Libertade" is a playful song where the band's deft touches emphasize how well they are attuned to her vocal dynamics. The album closes with "Entardecer" or "Eventide," a light song that describes a summer evening and closes with the sounds of church bells. Again, it's her voice that acts like a wildly expressive instrument that cajoles, swoops, breaks hearts and turns these songs into gold.

Each song feels like a wave where they slip effortlessly into the next, taking the listener on a journey of subtly shifting moods. The album's acoustic and ambient textures manage to sound both recognizable and fresh. If the melodies and the arrangements nod politely to Madredeus, the space in the production and the unpretentious artful feel of the songs reflect an intelligence and craft rarely heard anywhere. O Horizonte is a special recording that showcases Salgueiro's newly found maturity and great artistry. It's an enchanting and delightful recording. ~by Nenad Georgievski

Personnel: Teresa Salguiro: Vocals; Rui Lobato: drums, percussion and guitar; Oscar Torres: double bass; Marlon Valente: accordion; Graciano Caldeira: guitar.

O Horizonte

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Greg Skaff - Soulmation

Size: 130,0 MB
Time: 55:16
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Soul, Jazz Rock
Art: Front

01. Conjure (Feat. Charley Drayton & Pat Bianchi) (5:33)
02. Genmaicha (Feat. Charley Drayton & Pat Bianchi) (6:46)
03. Soulmation (Feat. Fima Ephron & Jonathan Barber) (4:19)
04. Mother Root (Feat. Fima Ephron & Jonathan Barber) (3:49)
05. Smoke In The Sun (Feat. Fima Ephron & Jonathan Barber) (3:38)
06. Bottom Feeder (Feat. Fima Ephron & Jonathan Barber) (3:46)
07. Fleurette Africaine (Feat. Fima Ephron & Jonathan Barber) (4:01)
08. Porcupine Hat (Feat. Fima Ephron & Jonathan Barber) (4:43)
09. Talisman (Feat. Pat Bianchi & Charley Drayton) (4:43)
10. Juke (Feat. Fima Ephron & Charley Dreyton) (4:24)
11. Snake Oil (Feat. Fima Ephron & Jonathan Barber) (4:35)
12. Somewhere In The Middle East (Feat. Fima Ephron & Jonathan Barber) (4:54)

Guitarist Greg Skaff is all about the grease, grit, and grooves on Soulmation. It's a logical extension of his previous work—guitar-fronted organ group dates like East Harlem Skyline (Zoho Music, 2009) and 116th & Park (Zoho Music, 2012)—but it's a tad heavier, raunchier, and funkier than anything Skaff threw us on those records. His approach here is equal parts soul jazz, jam band, and unadulterated rock, nodding toward everybody from Grant Green to Lenny Kravitz to Jimi Hendrix.

Skaff wastes no time getting down to business on this one. He kicks things off with a funky gem ("Conjure") that calls to mind the music that Medeski, Martin & Wood produced with John Scofield. It's a performance that's indicative of the attitude surrounding the album, yet the sound of that song doesn't define the record. No single track could. Skaff is far too cagey to be pigeonholed, altering his direction in slight and not-so-subtle ways from song to song. One number might present like a meeting of Stevie Wonder, Grand Funk Railroad, and Delbert McClinton ("Soulmation"), the next may slam and shred with controlled abandon ("Mother Root"), and the one after that may appear as waltzing jazz poetry riding on a psychedelic fusion flow (Jan Hammer's "Smoke In The Sun").

Everything is on the table here, and it's quite a spread to take in. Skaff and company ably construct Jeff Beck-meets-Living Colour hybrids ("Bottom Feeder"), manufacture slinky-and-dreamy tastes of Ellingtonia ("Fleurette Africaine"), shoot out sizzling swingers ("Porcupine Hat"), and engage in jams that marry roadhouse aesthetics to more advanced harmonic language ("Talisman"). Virtually nothing is left unexplored across these eleven tracks.

If there's a single idea at the heart of this album, it's that a musician unbound is like a musician heretofore unheard. Whether discussing the leader, his regular on-record collaborators like organist Pat Bianchi and drummer Charley Drayton, or Skaff album newbies like bassist Fima Ephron and drummer Jonathan Barber, that thought rings true. One can never really know the full weight of an artist's thoughts and skills until they're unleashed, so no truer picture of this guitarist (and his friends) may exist. Soulmation is truly a summation of what Greg Skaff is all about. ~by Dan Bilawsky

Personnel: Greg Skaff: guitar; Fima Ephron: electric bass; Pat Bianchi: organ; Jonathan Barber: drums; Charley Drayton: drums (1, 2, 9, 10).

Soulmation

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Dizzy Gillespie - At Uncle Po's Carnegie Hall, Hamburg 1978

Size: 102,1+160,5 MB
Time: 44:09+69:45
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

CD 1:
01. Sunshine ( 9:04)
02. Announcement 1 ( 0:57)
03. The Land Of Milk And Honey (10:20)
04. Announcement 2 ( 1:52)
05. Brother K (10:00)
06. Unicorn ( 6:16)
07. Oop-Pop-A-Da ( 5:37)

CD 2:
01. Diddy Wa Diddy (19:21)
02. Olinga (14:43)
03. Announcement 3 ( 0:46)
04. Blues ( 9:53)
05. A Night In Tunisia (14:58)
06. Dizzy's Party (10:02)

The pioneering jazz trumpeter and vocalist Dizzy Gillespie, one of the biggest names in jazz, recorded live at the legendary Hamburg venue Onkel Pö's Carnegie Hall in 1978. Dizzy was on tour with a small group: the solos were divided between him and 22-year-old guitarist Rodney Jones, a brisk wanderer between different styles, the equally youthful Ben Brown was the man on the electric bass. However, when it came to drummer Mickey Roker, Dizzy relied on his own, a player from the bebop-tradition - Roker, born in Miami in 1932, guaranteed the band's supply with rhythmical energy. Dizzy's passion for funky rhythms had noticeably increased by the late '70s and was apparent throughout the atmospheric two-hour set. In the second part of the concert Dizzy invited the saxophonist Leo Wright onto the stage. Wright, one of the style-defining Americans in Europe and in early post-war West-Germany. He was born 1933 and died 1991 in Vienna. He was - together with Phil Woods - one of Charlie Parker's legitimate heirs and since 1959 Dizzy's permanent quintet-partner for two years. Wright, as a member of the SFB-big band, was firmly established in Europe's American jazz scene in the Berlin of the '60s.

At Uncle Po's Carnegie Hall, Hamburg 1978 CD 1
At Uncle Po's Carnegie Hall, Hamburg 1978 CD 2

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Monica Chapman - Small World

Size: 106,4 MB
Time: 45:20
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. A Shine On Your Shoes (3:06)
02. Goldfinger (3:14)
03. Piel Canela (3:22)
04. Small World (5:31)
05. Caravan (4:34)
06. Baby It's Cold Outside (3:25)
07. Big Spender (3:02)
08. What Kind Of Fool Am I (3:52)
09. So In Love (3:53)
10. Orange Colored Sky (2:43)
11. Don't Explain (5:13)
12. A Foggy Day (3:19)

Romanian-born, Toronto-based vocalist Monica Chapman delivers Small World, her third album since 2013, in a concept recording of songs from some of her favorite movies such as Gypsy, Band Wagon, Goldfinger, and Sweet Charity just to name a few. A classically-trained singer who performed musical theatre, Chapman had always had a passion for movies but was encouraged late in life to apply her vocal talents in the jazz realm which she has since done remarkable well. Making the transition from classical to jazz can be fairly difficult "but it wasn't a problem for me," she states as this versatile singer loves to combine different musical styles.

Getting a little help from producer, agent and pianist Bill King, Chapman puts together an exciting group of Canadian artists to assist her in this endeavor. Among the standout and Juno-award winning musicians on this album are, alto saxophonist Mike Murley, drummer Mark Kelso, guitarist Reg Schwager and trumpeter Kevin Turcotte. Anyone who has seen the James Bond movie Goldfinger, cannot forget the title song voiced by Shirley Bassey which Chapman reprises here adding a little jazzy twist making the old classic a bit more interesting.

The singer is in excellent form voicing the 1962 standard "Piel Canela" (Cinnamon skin) in Spanish before going soft and mellow on the title track from the movie Gypsy featuring Rob Somerville on a delicate trombone solo as the singer voiced the lyrics with warmth. The Juan Tizol/ Duke Ellington standard "Caravan" takes on a whole new texture with a Latin jazz beginning as the leader turns on the charm while the band re-defines the song in dressing up the melody. One of the terrific tracks not to be missed is the lively "Baby It's Cold Outside" where the songstress performs a vocal duet with drummer Kelso before returning for a solo performance of "What Kind of Fool Am I," the time-honored classic from Anthony Newley.

Cole Porter's immortal "So in Love" gets a new perky arrangement featuring solo shots from trumpeter Turcotte and saxophonist Murley in support of the singers charm offensive on an excellent rendition of the old standard. Pianist King's haunting introduction to Billie Holiday's "Don't Explain," sets the mood for this down tempo burner as Chapman sings with graceful emotion on the last ballad of the album which, comes to a close on the George and Ira Gershwin's "A Foggy Day," a tune where Chapman reaches a bit as Schwager's guitar provides the supporting riffs in one of the finest versions of the tune around.

Containing an A-list of Canadian artists, a repertoire of fine movie tunes and more, Monica Chapman's Small World delivers an enchanting musical statement from one of the finest voices on the Canadian jazz scene today, well done! ~by Edward Blanco

Personnel: Monica Chapman: vocalist; Bill King: piano; Dave Young: acoustic bass; Mark Kelso: drums; Reg Schwager: guitar (1,-3, 7, 11, 12); Nathan Hiltz: guitar (2, 5, 8-9); Kevin Turcotte: trumpet; Mike Murley: alto saxophone; Rob Somerville: trombone; Magdelys Savigne: percussion (3, 5, 9).

Small World

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Kathleen Gorman - I Can See Clearly Now

Size: 103,0 MB
Time: 38:03
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. I Can See Clearly Now (4:56)
02. Can't Help Falling In Love (5:32)
03. Influence (4:17)
04. Both Sides Now (3:39)
05. Will You Still Love Me Tomorrow (4:34)
06. Over The Rainbow (5:13)
07. Lover Man (3:31)
08. Arabesque (2:33)
09. Mysterioso (1:19)
10. Exit (2:24)

Personnel:
Kathleen Gorman: piano, vocals, arranger
Alexander Brown : trumpet
Colleen Allen: saxophone
Mark Kelso: drums
George Koller: bass

This recording contains six jazz arrangements of some of my favorite classic songs and standards. From Joni Mitchell's " Both Sides Now " to a solo piano version of the timeless " Over The Rainbow ". I love melodies that are bursting with lyricism and harmonic textures that add to the emotion of the song. There are four original instrumentals, including " Influence ", which features horns, in a tribute to the Blue Note Records music of the late 50s/60s, while " Arabesque " and " " lean towards classical piano, with influences such as Satie and Chopin. I included my favorite jazz singer Billie Holiday's classic " Lover Man ", a story of vulnerable, intimate expression, also heard in the contemporary Carole King's " Will You Still Love Me Tomorrow ". All songs were arranged by Kathleen Gorman.

I Can See Clearly Now

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Tim Buckley - Greetings From L.A.

Size: 99,0 MB
Time: 39:32
File: MP3 @ 320K/s
Released: 1972/1996
Styles: Jazz Rock
Art: Front

01. Move With Me (4:50)
02. Get On Top (6:32)
03. Sweet Surrender (6:43)
04. Nighthawkin' (3:22)
05. Devil Eyes (6:50)
06. Hong Kong Bar (7:06)
07. Make It Right (4:05)

Stepping back from the swooping avant-garde touches of Starsailor for a fairly greasy, funky, honky tonk set of songs, the opening lines of Greetings from L.A. set the tone: "I went down to the meat rack tavern/And I found myself a big ol' healthy girl." Sassy backing vocalists, honking sax, and more add to the atmosphere, while Tim Buckley himself blends his vocal acrobatics with touches not unfamiliar to fans of Mick Jagger or Jim Morrison. The studio band backing him up might not be the equal to, say, War, but in their own way they do the business; extra touches like the string arrangement on "Sweet Surrender" help all the more. The argument that this was all somehow a compromise or sellout doesn't seem to entirely wash. While no doubt there were commercial pressures at play, given Buckley's constant change from album to album it seems like he simply found something else to try, which he did with gusto. "Get On Top," one of his best numbers, certainly doesn't sound like something aimed for the charts. The music may have a solid groove to it (Kevin Kelly's organ is worth a mention), but Buckley's frank lyrics and improv scatting both show it as him following his own muse. ~by Ned Raggett

Greetings From L.A.

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Paul Desmond - Greatest Hits

Bitrate: MP3@320K/s

Time: 54:19

Size: 124.3 MB

Styles: Saxophone jazz

Year: 1997/2008

Art: Front

[3:06] 1. Take Ten

[4:15] 2. I've Grown Accustomed To Her Face

[4:08] 3. Theme From Black Orpheus

[4:39] 4. Hi-Lili, Hi-Lo

[3:35] 5. Desmond Blue

[3:57] 6. Embarcadero

[5:47] 7. Polka Dots And Moonbeams

[5:48] 8. All The Things You Are

[3:21] 9. El Prince

[6:49] 10. Alone Together

[4:27] 11. A Taste Of Honey

[4:23] 12. O Gato

Bass – Gene Wright (tracks: 1,2,4,11,12), Gene Cherico (tracks: 3,6,7,9,10); Drums – Connie Kay (tracks: 1-4,6,7,9,10-12); Guitar – Jim Hall (tracks: 1-4,6,7,9,10-12); Saxophone – Paul Desmond (tracks: 1-4,6,7,9,10-12). Recorded between 1961 & 1965, this is a "greatest hits" CD, which collects stereo mixes of tracks from Paul Desmond's six early-1960s RCA albums.

Paul Desmond is widely recognized for his genius as a melodic improviser and as the benchmark of cool jazz sax players. His warm, elegant tone was one that he admittedly tried to make sound like a dry martini. He and Art Pepper were virtually the only alto players of their generation not directly influenced by Charlie Parker. Desmond was influenced by Lester Young, but took it further, into melodic and harmonic worlds never before traveled by reedmen especially in the upper registers. Desmond is best known for his years with the Dave Brubeck Quartet (1959-1967) and his well-known composition "Take Five." He met Brubeck in the late '40s and played with his Octet. The Quartet formed toward the end of 1950 and took final shape with Eugene Wright and Joe Morello a few years later. Jazz at Oberlin and Take Five were considered essential purchases by college students of the era, but Jazz Impressions of Japan was its most innovative recording. Desmond played his loping, slow, ordered, and intricate solos in direct contrast to the pianist's obsession with large chords, creating a myriad of textures for melodic and rhythmic counterpoint unlike any heard in jazz. His witty quotations from musicals, classical pieces, and folk songs were also a watermark of his artistry. When the Quartet split in 1967, Desmond began an intermittent yet satisfying recording career. It included dates with Gerry Mulligan for Verve, various sessions with Jim Hall, and a concert with the the Modern Jazz Quartet. He played his last gigs with the Brubeck Quartet at reunions before dying of lung cancer. Desmond's recordings for RCA have gotten box-set treatment and Mosaic issued one of the complete sessions with Hall.

Greatest Hits

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Sonoma - New Orleans Is The One I Love

Bitrate: MP3@320K/s
Time: 42:40
Size: 97.7 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[3:25] 1. New Orleans Is The One I Love
[2:00] 2. Almost Like Being In Love
[3:49] 3. Is You Is Or Is You Ain't (My Baby)
[3:43] 4. Color Me Blue
[3:29] 5. It Came From You
[3:12] 6. A Little Taste
[4:35] 7. City Soldier
[3:09] 8. I Fall In Love Too Easily
[3:31] 9. Without You
[4:26] 10. Welcome To My Heart Again
[3:06] 11. I Get A Kick Out Of You
[4:09] 12. Do You Know What It Means To Miss New Orleans

Joining the duo of Romy Kaye (vocals) and Craig Cortello (guitars) on this recording: Tony Dagradi (saxophone); Tim Laughlin (clarinet); Harry Ravain (drums); Al Arthur (bass) (except tracks 4 & 10, Jim Markway).

This collection of a dozen songs includes 6 original compositions and 6 classics, all meant to celebrate the great city of New Orleans. Those songs that don’t directly reference elements of our city and its culture reflect the spirit of the Crescent City - life’s emotions at the extremes – jubilation & grief, love and heartache – a sense that life in its entirety should be experienced with passion.

New Orleans Is The One I Love

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Dr. Lonnie Smith, Larry Willis, Ramon Morris - The Best Of The Funky Blues From The Groove Merchant Vault Vol. 2

Bitrate: MP3@320K/s
Time: 56:21
Size: 129.0 MB
Styles: Blues, Jazz, Funk
Year: 2012
Art: Front

[4:31] 1. Larry Willis - Out On The Coast
[6:24] 2. Larry Willis - Inner Crisis
[6:45] 3. Larry Willis - 153rd Street Theme
[7:12] 4. Larry Willis - Journey's End
[6:17] 5. Ramon Morris - Sweet Sister Funk
[5:32] 6. Ramon Morris - Wijinia
[5:21] 7. Ramon Morris - Don't Ask Me
[6:25] 8. Ramon Morris - Sweat
[7:50] 9. Dr. Lonnie Smith - Good Morning

The Best Of The Funky Blues From The Groove Merchant Vault

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Janet Seidel - Dear Blossom

Bitrate: MP3@320K/s
Time: 60:34
Size: 138.7 MB
Styles: Jazz vocals
Year: 2004
Art: Front

[3:55] 1. Surrey With The Fringe On Top
[2:32] 2. Deam Blossom
[3:05] 3. I'm Shadowing You
[3:57] 4. Hey John
[2:15] 5. I Like You, You're Nice
[2:58] 6. Comment Allez Vous
[2:29] 7. Once Upon A Summertime
[4:18] 8. Peel Me A Grape
[3:04] 9. I'm Hip
[3:01] 10. A Paris
[2:35] 11. It's Too Good To Talk About Now
[3:33] 12. Bruce
[3:17] 13. Moonlight Savin' Time
[4:02] 14. My Attorney Bernie
[3:05] 15. You Fascinate Me So
[3:12] 16. Figure Eight
[5:19] 17. Pro Musiqua Antiqua
[3:48] 18. My Gentleman Friend

The tribute show encapsulates the best tunes from the repertoire of the late Blossom Dearie and has has been performed by Australia’s “first lady of jazz singing” (Penguin Guide to Jazz on CD) in theatres, concert halls and clubs all over Australia and abroad. For those not familiar with Blossom suffice to mention she was something of a cult favourite from Paris to New York to London particularly. Even after her passing in 2008 she is championed by those in the know as a quirky and funny artist of the highest standard not just for her clever compositions and unique vocal artistry, but also for her exquisite jazz piano styling. Number 1 celebrity Blossom fan is Australia’s international pop icon Kylie Minogue, who shares co-incidently, the same birthday as Janet (albeit in a very different year!)

Dear Blossom

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Simone Gubbiotti - Essenza

Bitrate: MP3@320K/s
Time: 39:07
Size: 89.6 MB
Styles: Guitar jazz
Year: 2008
Art: Front

[4:34] 1. Days Of Wine And Roses
[6:14] 2. Estate Manha De Carnaval
[5:36] 3. In A Sentimental Mood Prelude To A Kiss
[4:50] 4. Requiem Per Un Sogno
[4:59] 5. Stella By Starlight
[5:43] 6. Lidia Universi Lontani
[2:59] 7. Bluesette Una Lunga Conversazione
[3:27] 8. Like Someone In Love
[0:39] 9. Blues For Monk

I recorded December 21 and 22,2007 between a bottle of wine and a delicious lunch. The real problem of the session was the essence of the project be only a guitar was so easy but complex at the same time because it was pratically impossible to fix the track when I had a mistake and we had to start again from the beginning. Some songs, especially the second day, was played directly the first time with no ending have been improvised during the recording or changed while playing and we decided to keep some little mistake that sounded more real. Obvously,I will never say which track!

I âm so happy about the product and the sound. I âm so glad about the relaxing atmosphere, the respect and the friendship that we lived every single moment of the recording session. ~Simone Gubbiotti

Essenza

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Buddy Bregman And His Dance Band - Swinging Standards / Gypsy (Feat. Annie Ross)

Bitrate: MP3@320K/s

Time: 65:16

Size: 149.4 MB

Styles:

Year: 2012

Art: Front

[2:36] 1. My Buddy

[3:03] 2. All Of You

[4:37] 3. In A Mellotone

[4:03] 4. I Love Paris

[3:44] 5. It's All Right With Me

[2:35] 6. Too Close For Comfort

[2:24] 7. Baubles, Bangles, And Beads

[3:06] 8. Imagination

[4:08] 9. My Heart Stood Still

[3:39] 10. Just In Time

[3:43] 11. Gypsy Overture

[3:44] 12. Everything's Coming Up Roses

[3:29] 13. You'll Never Get Away

[4:09] 14. Some People

[3:00] 15. All I Need Is A Boy

[2:39] 16. Small World

[4:36] 17. Together Where You Go

[3:37] 18. Let Me Entertain You

[2:15] 19. Roses

Twofer: Tracks #1-10 from the 12" LP "Swingin' Standards" (World Pacific STEREO-1024). Tracks #11-19 from the 12" LP "Gypsy" (World Pacific STEREO-1028).

Personnel on "Swingin' Standards": Al Porcino, Stu Williamson, Ray Triscari, Conte Candoli, John Audino (tp); Frank Rosolino, Joe Howard, Lloyd Ulyate, Marshall Cram (tb); George Roberts (b-tb); Richie Kamuca, Bob Cooper, Bill Holman (ts); Bill Perkins (bs); Russ Freeman (p); Jim Hall (g); Monty Budwig (b) and Mel Lewis (d). Recorded at United recording Studios, Hollywood, on April 21 (#6-10), 22 (#1-5), 1959. Personnel on "Gypsy": Annie Ross (vcl); Pete Candoli, Al Porcino (tp); Frank Rosolino (tb); Bud Shank (as); Richie Kamuca, Bill Perkins (ts); Russ Freeman (p); Jim Hall (g); Monty Budwig (b) and Mel Lewis (d). Recorded at Radio Recorders, Hollywood, on July 7 & 8 (#11,13,14,15), 1959.

Not yet 30 and dubbed Hollywood's wonder-boy of music when he recorded these sessions, Buddy Bregman had already amassed an incredible list of radio, television and motion picture credits, and had done backgrounds for everybody from Ella to Bing Crosby.

In 1959, he had a show every Sunday on NBC titled Buddy Bregmans Music Shop, where he appeared leading the powerful dance band with which he recorded the album Swingin Standards. The band featured the best of front rank Hollywood musicians, with fine soloing from brass and reeds and an excellent rhythm section authoritatively driven by Mel Lewis and the tasteful beat of guitarist Jim Hall. That same year, Buddy assembled a reduced version of his band to accompany Annie Rossone of the most versatile, brilliant and the swingingnest female jazz singer of the momentto record an album dedicated to the Broadway show Gypsy, with music composed by Buddys uncle Jule Styne, and lyrics written by Stephen Sondheim. Miss Ross has never been more hip, sultry and just plain enjoyable. Listening to the ripe, full sound the band gets suggests awesome power carefully under control. This is the flamboyant swing of Buddy Bregmans band.

Swinging Standards  Gypsy 

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Joe Lovano - Tenor Time

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 63:01
Size: 144,6 MB
Art: Front

( 7:05)  1. Walkin'
( 6:46)  2. Why Don't I
( 6:27)  3. Bye Bye Blackbird
( 6:55)  4. Paradox
( 5:08)  5. Ruby My Dear
(10:06)  6. Invitation
( 6:56)  7. Budo
( 5:32)  8. Like Sonny
( 8:01)  9. Dewey Said

This project was Michael Cuscuna’s idea for Toshiba/EMI, which is part of Blue Note in Japan. It was the first time I played the straight tenor exclusively. It’s a unique instrument, with a different feeling than the regular tenor saxophone. In fact, it has a different attitude and personality that comes through the music as well. Because the bell of the horn is directed downward, the sound comes out of the horn differently, using the floor to fill the room with the tone of the horn. The idea was to do some famous music, some classics, and that’s how the repetoire came together. I chose the material and we did one of my originals, Dewey Said, which dedicated to both Dewey Redman and Miles Dewey Davis. Junko is a very soulful, swinging player and we had an instant rapport. http://www.joelovano.com/albums/detail/15/Tenor-Time-

Personnel:  Joe Lovano – Tenor Saxophone;  Junko Onishi – Piano;  Rodney Whitaker – Bass;  Al Foster – Drums

Tenor Time

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Ellen Lebowitz - Invitation To Yesterdays

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 50:43
Size: 116,4 MB
Art: Front

(4:15)  1. Yesterdays
(6:08)  2. Dindi
(5:49)  3. Lush Life
(4:17)  4. Water To Drink (Agua De Beber)
(5:33)  5. 'Round Midnight
(5:17)  6. Since I Fell For You
(4:49)  7. Invitation
(7:10)  8. Spring Can Really Hang You Up The Most
(4:24)  9. Favela
(2:56) 10. A Natural Woman

A jazz vocalist's sophisticated interpretation of jazz standards. Included are Brazilian, swing, jazz ballads, and a couple pop standards. Be sure to check out Ellen Lebowitz' 2003 release, "Smokin' Aloud"........Powerfully sensitive jazz stylist, Ellen Lebowitz' sophisticated interpretation of wonderful standards brings the listener deep into each song she sings, eliciting the joy, sadness, the beauty of lyrics and music. This album is an eclectic compilation of some of the artist's favorite songs. Included are Brazilian, swing, jazz ballads, even a couple of 'pop' standards. Produced by Ms. Lebowitz, co-produced by Bob Cocchi, recording was done at two studios with the band playing live. All arrangements by Ellen except that of 'Favela' which was first arranged for big band by Warren Keyser and then adapted to the small group. The musicians on the CD are highly accomplished and talented humans! Tom Palmer, Kevin MacConnell and Don Glanden recently recorded and played in concert with saxophonist Ernie Watts. Tom's played with other jazz greats including Robin Eubanks and Herb Ellis. Don and Kevin are jazz educators at University of The Arts in Philadelphia while Tom directs a jazz band at University of Delaware. Rick Rossi has toured and recorded with the Brian Setzer Orchestra and has been seen on VH1 and numerous prime time TV shows playing his sax. All maintain a very busy gig schedule. Paul Scherer has three CDs out on World Disc and continues to write. https://www.cdbaby.com/cd/ellen

Invitation To Yesterdays

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Tyrone Washington - Natural Essence

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 39:11
Size: 90,3 MB
Art: Front

(5:02)  1. Natural Essence
(6:29)  2. Yearning For Love
(8:08)  3. Positive Path
(8:04)  4. Soul Dance
(6:15)  5. Ethos
(5:11)  6. Song of Peace

This release is a bit of a mystery, because this sole date as a leader by Tyrone Washington seems to mark his final appearance on record (following two sessions as a sideman, including Stanley Cowell's Brillant Circles and Horace Silver's The Jody Grind); his name doesn't show up in jazz encyclopedias, so one wonders if he died prematurely or quit music for some other reason. Only 23 at the time of the recording, the tenor saxophonist composed six originals and is joined by other promising young lions who went onto great careers (pianist Kenny Barron and trumpeter Woody Shaw), along with alto saxophonist James Spaulding, bassist Reggie Workman, and drummer Joe Chambers. Washington shows the influence of John Coltrane during his rapid-fire runs, while his playing during his more straight-ahead works proves to be more memorable. The opener, "Natural Essence," is an interesting alchemy of blues, funk, and hard bop. "Yearning for Love" is an emotional piece with spirited interaction between the three horns in places. The remaining tracks don't make as strong an impression, so it is possible that the inclusion of some standards or pieces by either Shaw or Barron might have added to the appeal of the date. Long out of print since its appearance on LP, it has been reissued on CD by Toshiba-EMI of Japan; fans of hard bop who are willing to spend a little extra for this import reissue may want to investigate the only CD by this mysterious tenor saxophonist. ~ Ken Dryden http://www.allmusic.com/album/natural-essence-mw0000368572

Personnel:  Tenor Saxophone – Tyrone Washington;  Alto Saxophone, Flute – James Spaulding;  Bass – Reggie Workman;  Drums – Joe Chambers;  Piano – Kenny Barron;  Trumpet – Woody Shaw

Natural Essence

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Bernt Rosengren - Surprise Party

Styles: Saxophone Jazz
Year: 1983
File: MP3@256K/s
Time: 41:39
Size: 76,5 MB
Art: Front

(5:46)  1. Solar
(8:08)  2. I Should Care
(7:37)  3. Dr. Jackle
(6:30)  4. Hip Walk
(8:03)  5. Embraceable You
(5:32)  6. Airegin

Greatly influenced by Sonny Rollins, Bernt Rosengren has been one of Sweden's most respected tenor saxmen since the 1950s. The big-toned, hard-blowing improviser was 19 when he started to make a name for himself in Scandinavia as a member of the quintet Jazz Club 57, and at 21, he was hired to represent Sweden in the Newport Jazz Band in the U.S. In 1961, his tenor was heard in American director Roman Polanski's debut film, Knife in the Water. Over the years, several of Rosengren's albums topped Swedish jazz polls, including Stockholm Dues in 1965, Improvisations in 1969, and Notes From the Underground in 1974. It was during the mid-'60s that Rosengren played alongside trumpeter Thad Jones in a sextet led by American pianist George Russell, who was living in Europe at the time. Although he started out playing hard bop and never gave it up, he got more into post-bop experimentation in the late '60s, when trumpeter Don Cherry was in his quartet, and the early to mid-'70s, when he combined jazz with Turkish and Middle Eastern folk as part of the group Sevda. In 1975, he played regularly with Swedish baritone saxman Lars Gullin and formed his own big band. The 1980s found Rosengren working with American hard boppers ranging from guitarist Doug Raney to pianist Horace Parlan. And in the 1990s, his activities included a jazz salute to the music from Porgy & Bess (The Bernt Rosengren Octet Plays George Gershwin's Porgy & Bess) and being featured prominently on the great Swedish trumpeter Rolf Ericson's final recording before his death, I Love You So (1995, Amigo). Turning 60 in 1997, Rosengren still played with the energy and stamina of a young man. ~ Alex Henderson  https://itunes.apple.com/us/artist/bernt-rosengren/id110728495#fullText

Personnel:  Tenor Saxophone – Bernt Rosengren;  Bass – Jesper Lundgård;  Drums – Aage Tanggaard;  Guitar – Doug Raney;  Piano – Horace Parlan. 

Surprise Party

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Rick Braun - Around The Horn

Styles: Trumpet Jazz

Year: 2017

File: MP3@320K/s

Time: 52:17

Size: 120,4 MB

Art: Front

(5:03)  1. So Strong

(4:20)  2. Pool Dancer

(5:16)  3. Love Take Me

(4:03)  4. We Don't Talk Anymore

(4:38)  5. Everything Is Alright

(4:22)  6. In Common

(5:10)  7. I Love You More

(4:57)  8. Around The Horn

(4:26)  9. Vila Vita

(4:48) 10. Yellow

(5:10) 11. One South Beach Night

There's only so many ways you can go in jazz with the trumpet. Straight ahead and then a sharp left turn into more experimental improvisation paging (Miles Davis), a technically proficient if somewhat rigid traditionalist (Wynton Marsalis) or become a tasty, if unmemorable ingredient in the smooth jazz gumbo (Chuck Mangione). These are the career choices Rick Braun may have faced at one time. He chose to go the path of least resistance and play it safe and make no mistake about it, Around The Horn is as safe as it gets. Braun is thoroughly professional and a polished trumpet player, but he's more in the vein of Mangione than Davis and that's fine because there's room for the mainstream as well as the trend setters. Braun is not going to go off on a ten-minute free-form solo blowing, bleating and squawking his brains out. That's not what he does so he does what Rick Braun does and make solid, workmanlike music. What Braun does do is make perfectly acceptable mainstream jazz music. The songs are catchy and rarely memorable. The arrangement and production doesn't break new ground as much as it covers a well-trod path. Braun's playing never veers into into outright parody of jazz like Mangione, but the unvarying sameness of the songs means its usually the soloists like newcomer Lindsay Webster's vocal turn on "Love Take Me" or old pro Peter White stopping by to add some guitar sweeteningto "We Don't Talk Anymore" and "Vila Vita," but it doesn't lift the overall recording beyond competent to exceptional. "Pool Dancer" is lively, but its not as lively as Braun thinks it is and "We Don't Talk Anymore" is nice, but the psuedo-funk of "Everything Is Alright" is just plain corny. The cover of Coldplay's "Yellow" is pretty and so is the closer, "One South Beach Night" until you realize it sounds just like "Love Take Me" and only the title is different, which is sort of pulling a fast one by Braun, but hey, whatever. All n' all, Braun has made a perfectly acceptable album of contemporary smooth jazz and if you're into that sort of thing you might even enjoy it, but will you remember any of it after it stops playing? If your expectations are this will be pleasant, but not particulary adventuresome, those expectations will be met with Around The Horn. It's not bad enough to actively dislike and not good enough to merit a rave. This one Is okay and sometimes okay is as good as it gets. ~ Jeff Winbush https://www.allaboutjazz.com/around-the-horn-rick-braun-shanachie-records-review-by-jeff-winbush.php

Personnel: Rick Braun: trumpet, valve trombone, flugelhorn, keyboards, synth bass; John Stoddart: keyboards, synth bass; Gerey Johnson: guitar; Third Richardson: drums; Lindsey Webster: vocals (3); Peter White: nylon string guitar (4, 9); Til Bronner: muted trumpet (8); Kenny Wild: acoustic bass (10)

Around The Horn

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