Lani Hall - Collectibles

Styles: Vocal
Year: 1984
File: MP3@320K/s
Time: 35:53
Size: 83,2 MB
Art: Front

(3:29)  1. Midnight Lovers
(3:10)  2. Never Say Never Again
(4:06)  3. Come What May
(6:12)  4. Send In The Clowns--We Could Be Flying
(3:41)  5. Nobody Gets This Close To Me
(4:01)  6. Rio
(3:43)  7. Come Down In Time
(4:29)  8. I Don't Want You To Go
(2:59)  9. How Can I Tell You

The original voice of Sergio Mendes' Brasil '66, singer Lani Hall was also the wife of trumpeter and A&M Records co-founder Herb Alpert. Upon exiting Brasil '66, she made her solo debut in 1974 with the LP Sundown Lady; a series of releases including 1975's Hello It's Me, 1977's Sweetbird and 1979's Double or Nothing followed, but after appearing on the soundtrack to the 1983 James Bond film Never Say Never Again, Hall largely disappeared from the recording scene, resurfacing only to make the occasional cameo appearance on her husband's recordings. However, the rise of Latin pop during the 1990s inspired Hall to return to the studio, and in 1998 she issued Brasil Nativo. ~ Jason Ankeny http://www.allmusic.com/artist/lani-hall-mn0000103460/biography
 

Personnel: Lani Hall (vocals); Jay Graydon (guitar).

Collectibles

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Benny Green - Live in Santa Cruz!

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 42:14
Size: 97,0 MB
Art: Front

(5:09)  1. Certainly
(4:29)  2. Phoebe's Samba
(3:41)  3. Cactus Flower
(3:47)  4. Sonny Clark
(5:26)  5. Golden Flamingo
(4:28)  6. Tales of Malone
(5:01)  7. Forgiveness
(4:37)  8. Bish Bash
(5:32)  9. Anna's Blues

We hope you've made the journey these past thirty plus years with pianist Benny Green. From hotshot young lion to keeper of the jazz flame he has consistently electrified audiences with his live performances. Live In Santa Cruz recorded at the Kuumbwa Jazz Center follows up on a recording he made as bassist Ray Brown's sideman twenty years ago. Green built a career, first as an apprentice to Betty Carter, then Art Blakey, Freddie Hubbard, then Brown. His career as a leader found early success with first Blue Note, then Telarc, and more recently, his revival with Sunnyside. As the market, or perhaps marketing departments, ebbed and flowed into then out of a taste for traditional jazz, Green's exposure has waxed and waned. What hasn't diminished are his skills at the keyboard, and more importantly, his knack for entertaining audiences. Playing Santa Cruz, side-by-side with Testifying: Live At The Village Vanguard (Blue Note, 1992) confirms his status as a true jazz maestro. The pianist recorded these tracks on his annual performance at Kuumbwa Jazz Center, and the audience ready, willing and primed for his appearance. The nine tracks are all originals, they range form the firecracker opener "Certainly" to the slow drag blues "Golden Flamingo," and an intricately simple ballad "Forgiveness."  Green's music works best in a trio format. Here he calls upon his musical twin, drummer Kenny Washington and bassist David Wong to favor the music. The crowd's energy is felt throughout. Green reintroduces "Phoebe's Samba," a composition written for his sister and recorded years ago on Lineage (Blue Note, 1990). The energy rises here and on his mayhem cyclone tribute to the hard bop pianist "Sonny Clark." Green's facility and hardwire swing carry the day. "Bish Bash" summons the spirit of Bud Powell at his bebop height, and the final track "Anna's Blues" has the crown on their feet. Green's music dares you to not clap, dance, or smile. Can't be done. ~ Mark Corroto https://www.allaboutjazz.com/live-in-santa-cruz-benny-green-sunnyside-records-review-by-mark-corroto.php
 

Personnel: Benny Green: piano; David Wong: bass; Kenny Washington: drums.

Live in Santa Cruz!

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Horace Parlan - My Little Brown Book

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 64:10
Size: 147,3 MB
Art: Front

( 6:56)  1. Little Esther
( 9:36)  2. My Little Brown Book
( 7:48)  3. Party Time
( 8:33)  4. Things We Did Last Summer
( 6:36)  5. Quietude
( 6:42)  6. Everything Happens To Me
( 7:53)  7. Fran Dance
(10:03)  8. Lotus Blossom

Pianist Horace Parlan is literally at home during the three sessions which make up My Little Brown Book. Joined by bassist Jesper Lundgaard (a frequent collaborator) and alto saxophonist Christina von Bülow, he is in great form throughout these intimate performances, consisting of originals, standards and jazz compositions by other greats. His jubilant "Little Esther" and saucy blues "Party Time" feature Lundgaard's walking bass with von Bülow taking center stage with her mellow solos while Parlan playfully detours into a Monk-like dissonance on the latter piece. The leader sounds very relaxed playing old favorites like the bittersweet standard "Everything Happens to Me" and Billy Strayhorn's lush "Lotus Blossom." His loping treatment of "Fran Dance" revives a gem from the '50s that has only been sporadically played since it was recorded by Miles Davis. Highly recommended! ~ Ken Dryden http://www.allmusic.com/album/my-little-brown-book-mw0000488757

Personnel: Horace Parlan (piano); Christina Von Bülow (alto saxophone); Jesper Lundgaard (bass instrument, double bass).

My Little Brown Book

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Artie Shaw - What Is This Thing Called Love

Styles: Clarinet Jazz 
Year: 1997
File: MP3@320K/s
Time: 74:06
Size: 174,6 MB
Art: Front

(3:00)  1. Let's Walk
(3:07)  2. Love Of My Life
(2:54)  3. How Deep Is The Ocean?
(2:48)  4. The Glider
(3:03)  5. The Hornet
(3:09)  6. They Can't Convince Me
(2:59)  7. I Got The Sun In The Morning
(3:07)  8. Along With Me
(2:50)  9. You Do Something To Me
(2:48) 10. In The Still Of The Night
(3:14) 11. Begin The Beguine
(3:05) 12. My Heart Belongs To Daddy
(2:48) 13. Night And Day
(3:01) 14. What Is This Thing Called Love?
(2:39) 15. I've Got You Under My Skin
(3:15) 16. Get Out Of Town
(3:04) 17. For You, For Me, For Evermore
(2:40) 18. Changing My Tune
(3:06) 19. Love For Sale
(3:08) 20. They Can't Convince Me
(3:07) 21. Guilty
(2:35) 22. And So To Bed
(2:36) 23. Don't You Believe It Dear
(3:02) 24. It's The Same Old Dream
(2:47) 25. I Believe

This collection of Artie Shaw big band recordings comes from his brief association with the Musicraft label. Having assembled and broken up several earlier units, this edition, heard in recordings made between 1945 and 1946, is more of an arranger's band than one that features many soloists, other than the leader. During this period of Shaw's career, he was constantly changing the instrumentation of his band and making personnel substitutions. Fellow Musicraft artist Mel Tormé and his group the Mel-Tones are added on some tracks, though this was a studio relationship exclusively and they were not a part of Shaw's organization. The innovative blend of strings, voices and brass in the swinging arrangement of "What Is This Thing Called Love" is the highlight of the vocal selections, along with an updated instrumental version of the clarinetist's earlier hit, "Begin the Beguine." The only reservation about this compilation is that several tracks are abruptly faded or even truncated. ~ Ken Dryden http://www.allmusic.com/album/what-is-this-thing-called-love-mw0000239933

Personnel: Artie Shaw (clarinet); Halsey Stevens, Teddy Walters, Kitty Kallen, Mel Tormé, The Mel-Tones (vocals); Dave Barbour, Barney Kessel (guitar); Nick Fatool (clarinet, drums); Rudy Tanza, Lou Prisby, Arthur "Skeets" Herfurt (alto saxophone); Herbie Steward, Ralph Rosenlund (tenor saxophone); Chuck Gentry (baritone saxophone); Manny Klein, Clyde Hurley, George Schwartz, Ray Linn, Bernie Glow, Stan Fishelson (trumpet); Garth Dickson, Bob Swift, Si Zentner, Harry Rodgers, Ollie Wilson (trombone); Dodo Marmarosa, Johnny Guarnieri, Milt Raskin (piano); Lou Fromm (drums).

What Is This Thing Called Love

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Dakota Staton - Great Ladies Of Song: Spotlight On Dakota Staton

Bitrate: MP3@320K/s
Time: 45:31
Size: 104.2 MB
Styles: Vocal jazz
Year: 1996
Art: Front

[2:25] 1. Anything Goes
[2:34] 2. Don't Explain
[1:53] 3. But Not For Me
[2:36] 4. Misty
[2:24] 5. September In The Rain
[3:12] 6. Solitude
[2:32] 7. I Hear Music
[2:38] 8. My One And Only Love
[2:08] 9. East Of The Sun (West Of The Moon)
[2:35] 10. The Late, Late Show
[2:24] 11. You Don't Know What Love Is
[2:20] 12. Too Close For Comfort
[2:49] 13. You've Changed
[1:43] 14. Love Walked In
[3:03] 15. Crazy He Calls Me
[1:53] 16. On Green Dolphin Street
[3:28] 17. Body And Soul
[2:46] 18. The Song Is Ended

Capitol's Great Ladies of Song series provides a fine introduction to the classic jazz vocals of the ‘50s and ‘60s. Brimming with talent, the label mostly stayed true to such vocalists as Nancy Wilson, Peggy Lee, June Christy, and Dakota Staton. Staton was the odd one out here in the popularity stakes, which was certainly not due to the caliber of her singing. This Great Ladies disc proves the point with 18 gems from her prime 1957-1961 stretch. Including the title track hit from her great debut album, The Late, Late Show, the collection gathers together highlights from most of her Capitol releases. And adding plenty of ideal backdrops, arrangers and accompanists Benny Carter, George Shearing, and Sid Feller provide an added touch of class. A great place for Staton newcomers to get familiar with all the singer's charms. ~Stephen Cook

Great Ladies Of Song: Spotlight On Dakota Staton

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The Beets Brothers - A World Class Jazz-Act

Bitrate: MP3@320K/s
Time: 59:07
Size: 135.3 MB
Styles: Contemporary jazz
Year: 1998
Art: Front

[3:35] 1. Thirteen Ain't Too Much
[5:00] 2. Black Orpheus
[3:10] 3. I've Got The World On A String
[4:57] 4. 6,-6,5
[6:57] 5. Berliner Waltz
[4:33] 6. Blues For Stephanie
[5:03] 7. It Might As Well Be Spring
[4:56] 8. A Lovely Way To Spend An Evening
[6:20] 9. Moanin'
[4:46] 10. Tristity
[5:06] 11. Love For Sale
[4:38] 12. Whisper Not

Alexander Beets - tenor sax, Peter Beets - piano, Marius Beets - bass, Wim Holthaus - drums, Geja Griek - vocals. Recorded: 3 and 25 March 1990.

The Beets Brothers are from Groenlo, a small town east of The Netherlands. Their music is sixties style jazz, but it is all fresh and new in appeal. They gave their first performance in 1983 and in 1985, they were discovered at the Doetinchem Jazz Festival. During the same year, they appeared on many radio and jazz television programs throughout Europe gaining more and more popularity. Their success continued, winning the "Rein Gieling Trophy" for the most original and promising jazz band. They also won awards at N.O.S. Jazz Festival and the Polaroid Jazz Festival in Enschede and began playing at the North Sea Jazz Festival in The Hague in 1990.

Concert performances have taken the Beets Brothers throughout Europe, America, China, Finland and Curacao. More recently, they have been invited to give a concert tour in South Africa. They just celebrated their 15-year jubilee by re-releasing the sixth pressing of their first album. They presently have five CDs to their credit, The Beets Brothers 1990, School is Closed Now 1993 (dedicated to Art Blakey), In the New World 1993, Brotherwise 1995 and First Date in 1997 recorded with Jeff Hamilton. There's not a bad one in the lot!

A World Class Jazz-Act

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Raquel Cepeda - I'm Confessin'

Bitrate: MP3@320K/s
Time: 61:23
Size: 140.5 MB
Styles: Jazz vocals
Year: 2013
Art: Front

[3:36] 1. East Of The Sun
[7:14] 2. Besame Mucho
[3:48] 3. Chega De Saudade
[4:42] 4. These Foolish Things
[5:50] 5. Tonada De Luna Llena
[4:13] 6. Somos Novios
[3:19] 7. I Don't Know Enough About You
[4:28] 8. Dream A Little Dream Of Me
[4:09] 9. How Deep Is The Ocean
[5:00] 10. Me Flechaste El Corazon
[2:49] 11. What Is This Thing Called Love
[5:12] 12. I'm Confessin' (That I Love You)
[6:57] 13. Corcovado Estate

Raquel Cepeda: vocals; Bob Chadwick: flutes; David Caceres: alto and tenor saxophones; Warren Steed: tenor and soprano saxophones; Dennis Dotson: trumpet; Paul English: piano, trumpet, flugelhorn; Thomas Hulten: trombone; Brennen Nase: guitar; Guil Fonseca: guitar; Jeffry Eckels: bass; Dean Macomber: drums; Jorge Orta: percussion; Tony Parana: percussion; James Metcalfe: percussion; Marcia Sterling: violin; Oleg Sulyga: violin; Dan Strba: viola; Shino Hayashi: cello.

The Houston jazz mafia expands with vocalist Raquel Cepeda's I'm Confessin'. Cepeda joins the ranks of multi-instrumentalist Henry Darragh, singers Melissa Darragh, Tianna Hall, Jacqui Sutton and Danielle Reich, guitarist Paul Chester, trumpeter Dennis Dotson (who appears here), saxophonist Larry Slezak and (by extension), trumpeter Carol Morgan, Houston jazz mafiosi all. Cepeda adds eloquently to a merry band of musicians that harbor an amazing lack of overlap among their very individual styles.

Singing is the Venezuelan-born Cepada's avocation. By day she is a geological engineer working for the Texas oil industry. In addition to singing, she is also a visual artist, writer and dancer—all not surprising considering her gracefully exotic looks and perfectly sculpted voice which is capable of handling multiple song sources, all bearing refraction through the Latin jazz prism. Cepeda's approach is big and lush. Her baker's dozen of songs is supported by a large ensemble employing a string quartet when necessary. The overall personality of I'm Confessin' is elegance and intelligence. Elegance may be heard in the title tune and the foreign language pieces, "Besame Mucho" and "Chega de Saudade." Pianist Paul English provides plush arrangements well suited to Cepeda's studied voice. But all is not smooth corners and good behavior. Cepeda and company add provocative angularity with a swing-stop "East of the Sun" and "I don't Know Enough About You." "What is This Thing Called Love" is beautifully ill-behaved, the ballad taken at double time featuring English just keeping things in control: exciting and inventive. The disc concludes with a brilliantly combined "Corcovado/Estate" performed with humid langor and sotto voce promises. ~C. Michael Bailey

I'm Confessin'

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The Four Freshmen - Capitol Collectors Series

Bitrate: MP3@320K/s
Time: 58:09
Size: 133.2 MB
Styles: Harmony vocal group
Year: 1991
Art: Front

[2:53] 1. It's A Blue World
[2:52] 2. The Day Isn't Long Enough
[3:09] 3. Poinciana (Song Of The Tree)
[2:26] 4. It Happened Once Before
[2:49] 5. Please Remember
[3:07] 6. We'll Be Together Again
[2:40] 7. Mood Indigo
[3:02] 8. It Never Occurred To Me
[1:56] 9. Day By Day
[2:35] 10. How Can I Tell Her
[2:14] 11. Charmaine
[2:44] 12. In This Whole Wide World
[3:31] 13. Angel Eyes
[1:59] 14. Love Is Just Around The Corner
[3:05] 15. Graduation Day
[2:33] 16. Whistle Me Some Blues
[3:23] 17. It Could Happen To You
[2:15] 18. Candy
[2:44] 19. (Get Your Kicks On) Route 66
[3:11] 20. Their Hearts Were Full Of Spring
[2:52] 21. And So It's Over

This quartet has developed a sound that is at once smooth, controlled and sweet. Yet for all its mainstream and popular appeal, the Four Freshmen's crooning harmonics is a force of nature, unlike anything that came before or after it. These are trained voices, full and pervasive, and the strength is quadrupled when thy sing in close unity. The exotic "Poinciana" relied solely on the four voices in harmony to create the powerful feeling of this song, and a guitar only aids them.

Old favorites, like the wartime classic "We'll Be together Again" shows how the Four Freshmen are both faithful to the melody and add their own cool musical signature on the number with a subtle atonality in the harmonized melody. The close harmonies have a profound depth that is equally adept at extolling the sentiments of such disparate themes as the perky "Love Is Just Around The Corner" and the gloomy "Angel Eyes."

Capitol Collectors Series

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James Hunter - ...Believe What I Say

Bitrate: MP3@320K/s
Time: 36:24
Size: 83.4 MB
Styles: Retro soul, Blue eyed soul
Year: 1996/2008
Art: Front

[3:28] 1. Two Can Play
[2:27] 2. Way Down Inside
[2:34] 3. The Very Thought Of You
[2:46] 4. It Ain't Funny
[3:01] 5. Let Me Know
[3:54] 6. I'll Walk Away
[2:45] 7. I Wanna Get Old With You
[2:42] 8. Hallelujah I Love Her So
[3:06] 9. Believe What I Say
[3:03] 10. Out Of Sight
[3:16] 11. Don't Step On It
[3:17] 12. Hear Me Calling

The singer/songwriter James Hunter introduced his retro blue-eyed soul approach with this 1996 debut. The smooth Sam Cooke/Clyde McPhatter-influenced vocals weren't quite as confident at his career's start, but for the most part, those smitten by People Gonna Talk will find this a terrific addition to their small Hunter collections. To his credit, Van Morrison was an early supporter, and he appears here on two Bobby "Blue" Bland covers. Morrison had already covered "Ain't Nothing You Can Do" on his live It's Too Late to Stop Now release, so it's likely he brought that to Hunter's attention. "Turn on Your Lovelight" sounds like it could have come off Morrison's His Band and the Street Choir, as he trades verses and harmonizes with Hunter in a spirited performance. Hunter's vocals emphasize Ray Charles more on this album, and not just on the cover of "Hallelujah I Love Her So." The original "Let Me Know" is fashioned from Charles' soul-blues-gospel, right down to the Raelettes-styled backing vocals. Damian Hand and Nick Lunt's sax section is integral to the snappy groove, and bringing the great soul woman Doris Troy along for a duet on "Hear Me Calling" is another classy move. But it's Hunter's terrific voice, sparse yet jazzy guitar, and excellent original songs that make this album so fresh, crisp, and hip. ~Hal Horowitz

...Believe What I Say

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Sonny Rollins - Sonny Meets Hawk!

Bitrate: MP3@320K/s
Time: 54:15
Size: 124.2 MB
Styles: Bop, Saxophone jazz
Year: 1963/2016
Art: Front

[5:11] 1. Yesterdays
[9:36] 2. All The Things You Are
[5:59] 3. Summertime
[4:40] 4. Just Friends
[8:54] 5. Lover Man
[7:03] 6. At Mckie's
[3:47] 7. You Are My Lucky Star
[3:16] 8. I Could Write A Book
[5:45] 9. There Will Never Be Another You

Throughout a career that spanned more than 40 years, Coleman Hawkins consistently maintained a progressive attitude, operating at or near the cutting edge of developments in jazz. If Hawk's versatility came in handy when he backed Abbey Lincoln during Max Roach's 1960 We Insist! Freedom Now Suite, he took on an assignment of challenging dimensions when in 1963 he cut an entire album with Sonny Rollins in the company of pianist Paul Bley, bassists Bob Cranshaw and Henry Grimes, and drummer Roy McCurdy. Coleman Hawkins and Sonny Rollins each virtually defined the tenor saxophone for his respective generation. To hear the two of them interacting freely is a deliciously exciting experience. Hawkins is able to cut loose like never before. Sometimes the two collide, locking horns and wrestling happily without holding back. For this reason one might detect just a whiff of Albert Ayler's good-natured punchiness, particularly in the basement of both horns; such energies were very much in the air during the first half of the 1960s. Rather than comparing this date with the albums Hawkins shared with Ben Webster (1957), Henry "Red" Allen (1957), Pee Wee Russell (1961), or Duke Ellington (1962), one might refer instead to Hawk's wild adventures in Brussels during 1962 (see Stash 538, Dali) or Rollins' recordings from around this time period, particularly his Impulse! East Broadway Run Down album of 1965. Check out how the Hawk interacts with Rollins' drawn-out high-pitched squeaking during the last minute of "Lover Man." On Sonny Meets Hawk!, possibly more than at any other point in his long professional evolution, Hawkins was able to attain heights of unfettered creativity that must have felt bracing, even exhilarating. He obviously relished the opportunity to improvise intuitively in the company of a tenor saxophonist every bit as accomplished, resourceful, and inventive as he was. ~arwulf arwulf

Sonny Meets Hawk!

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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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