Stephanie Hundertmark - Enjoy The View

Size: 100,0 MB
Time: 40:11
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front

01. Light In The Distance (4:52)
02. So It Is Over (3:49)
03. Still (4:30)
04. Make You You Again (4:49)
05. To The End Of The World (4:28)
06. The Real Me (4:35)
07. No Angel (4:31)
08. Over There (3:44)
09. Enjoy The View (4:49)

For quite a while now I’ve been working as a singer doing all sorts of projects - wonderful chillout with VARGO, a cappella of many kinds, commercials and music in TV Movies, children’s songs… Not so much has been happening with my original compositions lately, for some reason. And then I actually surprised myself when a while ago I decided to ask the fantastic canadian producer Joby Baker to record an album with me.
Sure enough, I spent the following summer recording in Canada at the renowned Baker Studios - which (naturally) was an allover sensational experience in itself - with the benefit of having this cd in my hands now. Joby was, as I'd guessed and hoped, the perfect person to bring my songs to life.

And now I do believe there could be people out there who might enjoy this music with me.
Take a listen and, if you feel so inclined, spread the word!

Enjoy The View

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Mel Torme - Mel Torme At The Red Hill (Remastered)

Size: 103,6 MB
Time: 39:47
File: MP3 @ 320K/s
Released: 1962/2017
Styles: Jazz Vocals
Art: Front

01. Shakin' The Blues Away (2:10)
02. I'm Beginning To See The Light (2:30)
03. In Other Words (4:16)
04. Medley A Foggy Day, A Nightingale Sang In Berkeley Square (3:31)
05. Love For Sale (2:51)
06. It's Delovely (4:34)
07. Mountain Greenery (2:53)
08. Nevertheless (3:24)
09. Early Autumn (3:09)
10. Anything Goes (3:22)
11. (Ah, The Apple Trees) When The World Was Young (3:44)
12. Love Is Just Around The Corner (3:18)

Mel Tormé's first recording for Atlantic is his best, a devastating swing set recorded at the Red Hill in Pennsauken, New Jersey. It's clear from just a few bars that the ever-ebullient scatter/singer is in his element here, swinging live at an intimate jazz club before a knowing audience; he treats onlookers to glorious versions of his live standards "Mountain Greenery" and "It's Delovely," extending the latter by several verses with updated, modern lyrics. Always conscious of featuring his musicians too, Tormé allows room for solos from pianist Jimmy Wisner, and even grabs the piano himself for three songs (including both of the above). One caveat: taking nothing away from the original performance, his dynamic vocal range occasionally results in light distortion. ~ by John Bush

Mel Torme At The Red Hill

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Yoko Miwa Trio - Pathways

Size: 166,2 MB
Time: 71:57
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Piano Jazz
Art: Front

01. Log O' Rhythm ( 7:37)
02. Lickety Split ( 9:30)
03. Court And Spark (10:54)
04. The Goalkeeper ( 6:52)
05. After You ( 9:52)
06. Lantern Light (11:54)
07. Was It Something I Said ( 6:31)
08. Dear Prudence ( 8:45)

It sounds like Boston-based pianist Yoko Miwa gathered her trio mates bassist Will Slater and drummer Scott Goulding outside the studio door and said: "Let's have some fun!" The result is Pathways, her seventh release as a leader, in a discography that includes Fadeless Flower (Self Produced, 2004), Canopy Of Stars (Self Produced, 2007, and Live At Sculler's Jazz Club (Self Produced, 2011).

If ever there was a studio recording with the freshness and vitality of a live set, this is it. The group dynamic bounces with joy, and Oscar Peterson and Benny Green come to mind, stylistically, with Miwa's always engaging melodies dancing around propulsive rhythms. This is Yoko Miwa at her extroverted best. The trio is a relentless forward motion machine on the Marc Johnson-penned "Log O 'Rhythm." There is muscle in Miwa's delivery, mixed with an elegant melodic grace, as she proves herself, again, to be a stellar interpreter of tunes not her own.

Miwa's own "Lickety Split" showcases the pianist powering down chords with a nail gun intensity, while her right hand gives off off sparks.

"Court And Spark," from Joni Mitchell's groundbreaking 1974 Asylum Records album of the same name, reigns in the momentum, but not the beauty. Mitchell's songs are oddly gorgeous, different than anything anybody else writes. Miwa keeps the colors in the dark end of the spectrum on the most inward piece on this set.

The trio revisits the Marc Johnson songbook with "After You," a light-stepping, light-hearted, Latin-esque romp, leading into the Miwa-penned "Lantern Light," full of subdued majesty tinted with melancholy.

Miwa wraps it up with The Beatles (John Lennon's) "Dear Prudence," with Brad Barrett replacing Will Slater in the bass slot. A measured pace and powerful percolation back Miwa's stormy piano work, to close out her finest recording to date. ~Dan McClenaghan

Personnel: Yoko Miwa: piano; Will Slater: bass; Scott Goulding: drums Brad Barrett: bass (8).

Pathways                 

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Les McCann - On The Soul Side

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 62:58
Size: 144,4 MB
Art: Front

(5:09)  1. Shabalala
(8:41)  2. Early Riser
(7:16)  3. Back Rub
(8:12)  4. Vu Jade (The Feeling Of Never Having Been There Before)
(8:55)  5. New Blues
(5:15)  6. Lift Every Voice And Sing / God Bless America
(3:52)  7. Ignominy
(4:22)  8. The Children
(4:50)  9. Dippermouth
(6:22) 10. Look To Your Heart

While other Les McCann albums have emphasized R&B or soul-jazz vocals, the singer/pianist does very little singing on this CD. Only on "Look to Your Heart" can McCann's vocals be heard. Except for "God Bless America" (which contains a memorable vocal by Lou Rawls), all of the other tracks are jazz instrumentals. Joined by saxman Keith Anderson, trumpeter Jeff Elliott, bassist Abraham Laboriel, and drummer Tony St. James, a 58-year-old McCann makes jazz pianism his top priority on this album. It's a very lyrical and accessible sort of jazz pianism -- those who have spent a lot of time savoring Gene Harris' playing or getting into Joe Sample's Carmel should appreciate McCann's melodic playing on "Back Rub," "Shabalala," and other originals. Sadly, On the Soul Side is the last studio album that McCann would record as a leader before suffering a major stroke in early 1995 one that weakened his piano playing without depriving him of his ability to sing. ~Alex Henderson http://www.allmusic.com/album/on-the-soul-side-mw0000115110

Personnel: Les McCann (piano, vocals); Lou Rawls (vocals); Eddie Harris, Keith Anderson (saxophone); Jeff Elliott (trumpet, flugelhorn); Abraham Laboriel (bass); Tony St. James (drums).

On The Soul Side

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Janis Ian - Aftertones

Styles: Vocal, Guitar, Piano, Folk
Year: 1975
File: MP3@320K/s
Time: 33:36
Size: 79,3 MB
Art: Front

(3:14)  1. Aftertones
(3:41)  2. I Would Like To Dance
(2:16)  3. Love Is Blind
(3:11)  4. Roses
(4:31)  5. Belle Of The Blues
(3:08)  6. Goodbye To Morning
(2:42)  7. Boy, I Really Tied One On
(2:42)  8. This Must Be Wrong
(3:57)  9. Don't Cry, Old Man
(4:12) 10. Hymn

On Aftertones, Janis Ian (guitar/piano/vocals) continued the artistic, and to a lesser extent, the commercial success she garnered on her previous effort Between The Lines (1975). Once again, she assembled some of the finest session musicians from the Big Apple to animate her intimately sensitive sonic portraits and caricatures. Although Ian would not surpass the universality of "At Seventeen," much of this disc continues the theme and moods expressed as far back as Stars (1974). Ian's advanced folk sensibilities are emotional progressions away from the weepy and introspective nature heard from her mid-'70s singer/songwriter contemporaries. Part of Ian's enticement is the marriage between achingly beautiful melodies and thoroughly personalized lyrics. The album commences with the title track setting the tenor and sonic ambiance. The acoustic guitar and compact string section lend to "Aftertones" slightly baroque feel, which adds to the song's palpable isolation ("'Til all that's left to see are aftertones/I take them home/ We live alone"). The beautifully bitter "Love Is Blind," and the harrowing "Don't Cry, Old Man" are piercing in their honesty. They contrast the lighter fare of "I Would Like to Dance," as well as the tongue-in-cheek "Boy, I Really Tied One On," or the overtly kinky blues "This Must Be Wrong." "Goodbye to Morning" is a dark jazzy ode that stands out as one of the best sides on the album, featuring some distinct interaction between Richard Davis (acoustic bass) and Ian's own rambling, unplugged fretwork. Folk and gospel legends Odetta (vocals) and Phoebe Snow (vocals) join in on Aftertones magnum opus, "Hymn." The trio soulfully swaddle their subtle harmonies into a unified lead as they languidly allow their own vocal aftertones resonate with unencumbered majesty. ~ Lindsay Planer http://www.allmusic.com/album/aftertones-mw0000691057

Personnel: Janis Ian (guitar, piano); Claire Bay (vocals); Al Gorgoni, Jeff Layton (guitar); Kathryn Kienke, Ezra Kliger, Michael Comins, Julius Schacter, Paul Winter Consort, Gene Orloff, Harry Cykman, Harry Lookofsky (violin); George Browne, The Manny Vardi Strings, David Sackson, Selwart Clarke (viola); Bruce Rogers, Jesse Levy, Charles McCracken , Max Hollander, Kermit Moore (cello); Romeo Penque (flute, piccolo, e flat clarinet, oboe, English horn); Phil Bodner (alto flute, oboe, English horn); Gonzalo Fernandez (wooden flute); Artie Kaplan (bass clarinet, baritone saxophone); Pete Nater, Ernie Royal, Larry Spencer, Joe Shepley (trumpet); Donald Corrado, James Buffington, Earl Chapin (French horn); Mickey Gravine (trombone, tenor trombone); Tom "Bones" Malone, Lewis Kahn (trombone); Wayne Andre (tenor trombone); Larry Harlow (piano); Barry Lazarowitz (drums, percussion); Arthur Jenkins (congas).

Aftertones

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Dieter Ilg - Summerhill

Styles: Jazz Fusion
Year: 1992
File: MP3@320K/s
Time: 44:39
Size: 102,5 MB
Art: Front

(6:27)  1. It's getting better
(5:48)  2. Springfever
(7:33)  3. The shadows of the fall
(9:14)  4. Summerhill
(5:54)  5. All childrens love song
(4:04)  6. Somersault
(5:36)  7. Under the skin of the earth

Bassist Dieter ILG is the nominal leader on this '91 session, but it is guitarist Mike Stern and tenor saxophonist Bob Berg who are in the forefront. ILG has a firm, solid tone, plays nice accompaniment and takes an occasional well-constructed solo, but is not the kind of dashing or virtuoso player who makes hearing unaccompanied bass something out of the ordinary. 

The title track ranks as the best musical workout and is the only one where the ensemble and individual sections are equally accomplished. Otherwise, you get either fine playing on humdrum writing or good arrangements and less than exemplary execution. ~ Ron Wynn http://www.allmusic.com/album/summerhill-mw0000095371

Personnel: Dieter Ilg (bass), Bob Berg (saxophone), Randy Brecker (trumpet), Jim Beard (keyboards), Mike Stern (guitar), Peter Erskine (drums).

Summerhill

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Jeff Lorber - It's A Fact

Styles: Jazz Fusion
Year: 1982
File: MP3@320K/s
Time: 37:43
Size: 87,5 MB
Art: Front

(4:35)  1. Tierra Verde
(4:51)  2. Full Moon
(4:25)  3. Warm Springs
(4:19)  4. It's A Fact
(4:00)  5. The Magician
(3:59)  6. Your Love Has Got Me
(4:05)  7. Delevans
(4:27)  8. Always There
(2:59)  9. Above The Clouds

With a smooth sound bringing together elements of funk, R&B, rock, and electric jazz, keyboardist Jeff Lorber helped pioneer a genre of fusion later formatted under such names as NAC and contemporary jazz. Born in Philadelphia on November 4, 1952, he began playing the piano at the age of four, and as a teen performed with a variety of local R&B bands. Lorber's infatuation with jazz began during his stay at the Berklee College of Music, and after forming the Jeff Lorber Fusion he issued the group's self-titled debut in 1977. During the first half of the following decade, the band became one of the most popular jazz acts of the period, touring nonstop and even scoring a Best R&B Instrumental Grammy nomination for the radio hit "Pacific Coast Highway." Released in 1986, Private Passion was Lorber's most successful outing yet, but at this commercial peak he stopped recording, instead turning to production and session work.  He did not issue his first proper solo LP until 1991's Worth Waiting For, remaining both a prolific performer and producer for the rest of the decade. He recorded for Verve and Zebra in the '90s before moving over to Narada in the 2000s and releasing successful smooth jazz albums like 2003's Philly Style and 2005's Flipside. He released He Had a Hat on Blue Note in 2007. In 2010, Lorber released the '70s funk and soul-inflected Heard That. In 2010, Lorber reactivated the Jeff Lorber Fusion and released Now Is the Time via Heads Up International. The album received generally positive reviews, placed high on the contemporary jazz chart, and was nominated for a Grammy.

Lorber not only stayed with the revitalized JLF format, but went even deeper for 2012's Galaxy (Heads Up/Concord), revisiting in depth the sound he helped to pioneer. Lorber, bassist Jimmy Haslip, and saxophonist Eric Marienthal were accompanied by drummer Vinnie Colaiuta. The album also featured guest spots by trumpeter Randy Brecker; percussionist Lenny Castro; guitarists Paul Jackson, Jr., Michael Thompson, Andrée Theander, and Larry Koonse; and drummer Dave Weckl. In August of 2013, the JLF released Hacienda; it was nominated for Best Pop Instrumental Album at the 2014 Grammy Awards. After a supporting tour, Lorber and Haslip wanted to waste no time in cutting another record. They re-enlisted Colaiuta and recruited Yellowjackets saxophonist Bob Mintzer and guitarist Robben Ford, as well as a host of studio aces including percussionist Lenny Castro and guitarist Paul Jackson, Jr. David Mann was hired to provide horn charts. Step It Up was released by Heads Up during the fall of 2015. Two years later, the keyboardist was back with the JLF, this time with saxophonist Andy Snitzer and longtime bassist Gary Novak, for Prototype. ~ Jason Ankeny http://www.allmusic.com/artist/jeff-lorber-mn0000190888/biography

Personnel: Jeff Lorber (keyboards); Marlon McClain (guitar); Kenny Gorelick (soprano saxophone, tenor saxophone); Nathan East (electric bass); Paulinho Da Costa (percussion)

It's A Fact

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Bill Frisell & Thomas Morgan - Small Town

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 68:06
Size: 159,6 MB
Art: Front

(11:05)  1. It Should Have Happened a Long Time Ago
( 7:31)  2. Subconscious Lee
( 9:35)  3. Song for Andrew No. 1
( 5:08)  4. Wildwood Flower
( 8:57)  5. Small Town
( 6:41)  6. What a Party
(12:05)  7. Poet / Pearl
( 7:01)  8. Goldfinger

Small Town presents guitarist Bill Frisell and bassist Thomas Morgan in a program of duets, the poetic chemistry of their playing captured live at New York s hallowed Village Vanguard. Frisell made his debut as a leader for ECM in 1983 with the similarly intimate In Line. The guitarist's rich history with the label also includes multiple recordings by his iconic cooperative trio with Paul Motian and Joe Lovano, culminating in Time and Time Again in 2007. Small Town begins with a tribute to Motian in the form of a searching, 11-minute interpretation of the late drummer s composition It Should've Happened a Long Time Ago, the duo's counterpoint yielding a hushed power. Morgan has appeared on several ECM albums of late, as bassist of choice for Tomasz Stanko, Jakob Bro, David Virelles, Giovanni Guidi and Masabumi Kikuchi. Small Town sees Frisell and Morgan pay homage to jazz elder Lee Konitz with his Subconscious Lee, and there are several country/blues-accented Frisell originals, including the hauntingly melodic title track. The duo caps the set with an inimitable treatment of John Barry s famous James Bond theme Goldfinger. ~ Editorial Reviews https://www.amazon.com/Small-Town-Frisell-Thomas-Morgan/dp/B06XRJNC4K

Personnel:  Bill Frisell – guitar; Thomas Morgan – double bass

Small Town

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Karin Krog, Steve Kuhn Trio - Where You At?

Styles: Vocal And Piano Jazz 
Year: 2003
File: MP3@320K/s
Time: 53:45
Size: 125,1 MB
Art: Front

(5:44)  1. The Meaning of Love (Feat Steve Kuhn)
(3:55)  2. Where You At (Feat Steve Kuhn)
(4:33)  3. Lazy Afternoon
(5:23)  4. It Could Be Hip
(4:30)  5. Speak Of Love
(5:34)  6. Canto Mai
(7:38)  7. Saharan
(3:37)  8. You Say You Care
(4:33)  9. Kaleidoscopic Vision
(4:07) 10. Missing Calada
(4:06) 11. Gloomy Sunday

One of Europe's leading jazz singers meets piano virtuoso Steve Kuhn and his trio: creative, swinging, original, and very charming! Karin Krog is perhaps Norway's leading jazz singer, and certainly its most idiomatic. She is a unique artist with a great international reputation, and possesses her own recognizable style and voice. She has worked with Don Ellis, Archie Shepp, Dexter Gordon, John Surman, and more. "A band poised between the drummer's rugged swing and a robustly underwired lyricism." (Penguin Guide To Jazz) ~ Editorial Reviews https://www.amazon.com/Where-You-at-Karin-Krog/dp/B00009XBX7

Personnel:  Vocals – Karin Krog;  Double Bass – David Finck;  Drums – Billy Drummond;  Piano – Steve Kuhn

Where You At?

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Dieter Ilg Trio - Folk Songs

Styles: Jazz, Jazz Fusion
Year: 1997
File: MP3@224K/s
Time: 54:47
Size: 88,4 MB
Art: Front

(5:32)  1. Guter Mond Du Gehst So Stille
(4:59)  2. Es Tagt Der Sonne Morgenstrahl
(5:11)  3. Frère Jaques
(4:01)  4. Arirang
(3:47)  5. Wann Ich Des Morgens Frueh Aufsteh'
(3:53)  6. Im Maerzen Der Bauer
(6:48)  7. Alles Schweiget
(5:52)  8. Maienzeit Bannet Leid
(4:55)  9. In Stiller Nacht
(4:44) 10. So Sei Gegruesst Viel Tausendmal
(5:02) 11. Der Mond Ist Aufgegangen

Bassist Dieter Ilg is well-featured on two different trio dates. Folk Songs buy CD music Five songs have Benoît Delbecq on keyboards and drummer Steve Arguelles, while Ilg and Arguelles are joined on the remaining six numbers by guitarist Wolfgang Muthspiel. Folk Songs songs The songs are all traditional European folk melodies but are given very different treatments, from swinging sections to introspective ballads and quiet sound explorations. Folk Songs album for sale Although Delbecq and Muthspiel have their spots, Ilg has the lion's share of the solo space and the emphasis is more on the atmospheric ensembles than individual solos. Folk Songs CD music Although the musicianship is high, it is difficult to concentrate too closely on this often dreamy music without drifting off. Folk Songs buy CD music Perhaps if there were a bit more fire, this would have been a stronger outing. Folk Songs songs As it is, it manages to be well-intentioned, quite musical, and somewhat forgettable. https://itunes.apple.com/nz/album/folk-songs/id386923813

Personnel: Dieter Ilg (Bass);  Wolfgang Muthspiel (guitar); Benoît Delbecq (piano, keyboards); Steve Arguelles (drums).

Folk Songs

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Evan Christopher's Django A La Creole - Live!

Styles: Clarinet Jazz

Year: 2014

File: MP3@320K/s

Time: 77:45

Size: 179,5 MB

Art: Front

(7:13)  1. Douce Ambiance

(6:35)  2. Riverboat Shuffle

(9:05)  3. Dear Old Southland

(8:07)  4. One For The Duke

(8:24)  5. Mamanita

(5:06)  6. Solid Old Man

(7:26)  7. The Mooche

(5:53)  8. The Crave

(4:05)  9. Feerie

(6:27) 10. Manoir De Mes Reves

(9:19) 11. Songe D'Automne

Both the public and the critics have been won over by Django a la Creeole, the group led by Evan Christopher, no doubt the greatest jazz clarinetist on today's New Orleans scene. Reaching the end of a hugely successful world tour, the band decided to record a live album that would show the rapport they'd created with audiences thanks to the extraordinary color and savor of their music. And here it is, rich with soaring swing, soft and elegant Creole excursions and even sidesteps into bossa nova. The music is intimate and generous, and the band goes way beyond gypsy swing and the jazz of New Orleans: the concept here is to take music outside the notion of genres. In fact, Django, la Creole is a genre of its own: a fantastic universe of sound somewhere between the Old World and the New. ~ Editorial Reviews https://www.amazon.com/Django-Creole-Live-Evan-Christopher/dp/B00HYID4V8

Evan Christopher (clarinet), Don Vappie (solo guitar, banjo, vocals), Dave Kelbie (rhythm guitar), Sebastien Girardot (bass)

Live!

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Ragan Whiteside - Quantum Drive

Styles: Vocal And Flute Jazz
Year: 2014
File: MP3@320K/s
Time: 46:19
Size: 106,2 MB
Art: Front

(0:30)  1. Intro
(4:20)  2. Valentin Dream (feat. Bob Baldwin)
(4:47)  3. Remind Me (feat. Patrice Rushen)
(3:35)  4. Indrani
(6:17) 5. Smokey Room (feat. Frank McComb & Bob Baldwin)
(3:30)  6. Work 'it Out (feat. Bo Valentine)
(3:48)  7. Sould Biscuit
(0:46)  8. Interlude
(4:59)  9. Like The First Time
(4:03) 10. Wing And A Prayer (feat. Althea Rene)
(4:17) 11. Gentle Touch
(5:22) 12. Quantum Drve

Smooth Jazz Therapy has admired the music of the wonderfully soulful Ragan Whiteside since 2007 and the release of the highly acclaimed ‘Class Axe’. Not only did it mark her out as a leading exponent the smooth jazz flute but also glistened with production touches from Bob Baldwin and Dennis Johnson. This collaboration was again on sensational show for Ragan’s 2012 project ‘Evolve’ and has carried on to her brand new CD ‘Quantum Drive’. Not only that, with an all-star roster featuring Baldwin, Patrice Rushen, Frank McComb and Althea René, this is a collection that merits closer scrutiny and which has already been described as soulful, daring, sultry and edgy. None more so in this respect is the zesty flute-fest of ‘Soul Biscuit’ that has both Baldwin and Johnson contributing on keyboards and when she notches down the tempo for the beguiling Bob Baldwin composition ‘Like The First Time’, the result is just as good. In fact Whiteside’s connection with Baldwin predates her ‘Class Axe’ debut as even before she had won the 2006 Capital Jazz Challenge, Ragan had already caught his attention. She played flute on Baldwin’s 2004 album ‘Brazil Chill’ and a year later Baldwin included her on his follow up, ‘All In A Day’s Work’. In fact, for ‘Quantum Drive’, Baldwin writes (or co-writes) seven of the twelve tracks that, complete with a smattering of intro’s and interludes, are all fine examples of hugely relevant R & B tinged jazz. 

Ragan’s trademark rhythmic style is front back and center of the of the sparking ‘Valentin Dream’ which features Baldwin on piano and he is again around for the easy grooving ‘Indrani’ that in every respect is beauty personified. Whiteside was recently voted Flutist of the Year at the 2014 Black Women in Jazz Awards and someone else in the shake-up for that particular honor, smooth jazz flautist Althea René, joins her for a duet on the seriously grooving ‘Wing And A Prayer’. From start to finish it is a complete delight and much the same can be said of ‘Gentle Touch’ for which the title betrays the sexy vibe of this sumptuous song. Later, the hard driving yet mellifluous title cut owes much to Whiteside’s prowess on flute and vocals while elsewhere the decidedly jazzy ‘Smokey Room’ includes a keyboard solo from contemporary jazz heavyweight Frank McComb. One of the highlights of ‘Quantum Drive’ is the funky dance groove of ‘Work It Out’ that has rising hip-hop star Bo Valentine stealing the show whilst in terms of personal favorites, Ragan’s exciting cover version of Patrice Rushen’s silky smooth ‘Remind Me’ is right up there. With Rushen guesting on keyboards and Whiteside combining flue and vocals like only she can, this one is a real winner. ~ Denis Poole https://store.cdbaby.com/cd/raganwhiteside2

Personnel:  Flute, Vocal  – Ragan Whiteside;  Keyboards – Bob Baldwin, Dennis Johnson

Quantum Drive

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Ruby Braff - Hi-Fi Salute To Bunny

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 52:49
Size: 124,4 MB
Art: Front

(5:31)  1. Keep Smiling At Trouble
(6:10)  2. I Can't Get Started
(7:23)  3. It's Been So Long
(6:05)  4. I'm Coming Virginia
(4:46)  5. Marie
(6:29)  6. Downhearted Blues
(4:21)  7. I Got It Bad And That Ain't Good
(6:46)  8. Somebody Else Is Taking My Place
(5:16)  9. Did I Remember

Ruby Braff's 1957 tribute to trumpet great Bunny Berigan is only appropriate, as he has long since gone on to establish himself as one of the modern masters of swing. His band includes pianist Nat Pierce, guitarist Steve Jordan, clarinetist Pee Wee Russell, trombonist Benny Morton, tenor saxophonist Dick Hafer, bassist Walter Page (in one of his last recordings prior to his death), and drummer Buzzy Drootin. Braff's passionate, always-melodic solos contrast with Russell's rather distinctive approach to the clarinet, while the rhythm section is dominated by Page's fat-toned bass. The leader's approach to "I Can't Get Started," a song forever associated with Berigan, remains fresh decades later. Most of the selections were reissued on the since-deleted Bluebird CD This Is My Lucky Day, so finding a copy of this valuable music remains somewhat challenging. ~ Ken Dryden http://www.allmusic.com/album/hi-fi-salute-to-bunny-mw0000497315

Ruby Braff, trumpet; Benny Morton, trombone; Pee Wee Russell, clarinet; Dick Hafer, tenor sax; Nat Pierce, piano; Steve Jordan, guitar; Walter Page, bass; Buzzy Drootin, drums.

Hi-Fi Salute To Bunny

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Janet Seidel - Doris And Me

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 68:46
Size: 161,9 MB
Art: Front

(4:55)  1. Somebody Loves Me - Blue Skies
(2:54)  2. Sentimental Journey
(3:34)  3. Secret Love
(4:12)  4. I'll String Along With You
(3:24)  5. My Dreams Are Getting Better All the Time - Let's Be Buddies-I May Be Wrong
(2:18)  6. I've Got the Sun In the Morning
(3:06)  7. Embraceable You
(4:11)  8. It's Magic
(2:59)  9. Canadian Capers
(2:29) 10. Too Marvelous For Words
(0:58) 11. I Know That You Know
(1:52) 12. Crazy Rhythm
(3:19) 13. Tea For Two | Do Do Do
(2:55) 14. The Very Thought of You
(1:33) 15. The Way You Look Tonight
(2:09) 16. Lullaby of Broadway
(3:16) 17. Love Me Or Leave Me
(3:21) 18. Ten Cents A Dance
(2:03) 19. Close Your Eyes
(2:40) 20. Perhaps
(1:36) 21. Windy City
(3:48) 22. Pillow Talk - Please Don't Eat the Daisies - Teacher's Pet
(2:08) 23. Que Sera Sera
(2:54) 24. Please Don't Talk About Me

Doris Day recorded more than 600 songs over a lengthy and successful career in the movies and recording studio. She was smart enough to quit while she was ahead. But neither she nor the special way she sang a song is forgotten. Tribute and commemoration albums abound. This latest from one of Australia's premiere singers, Janet Seidel, focuses on more sophisticated material Day sang in movies, like Young Man With a Horn and her film portrayal of vocalist Ruth Etting, as well as tunes she did with bands led by Les Brown and Bob Crosby and others. While not jazz, these performances certainly have a jazzy feel about them. Seidel wisely does only one track of vocal trivia that Day had to do in such movies as Pillow Talk. Seidel has long been an admirer, not an imitator, of Day, creating a cabaret show around Day's material. Like that singer, she has perfect pitch, clear diction, and a convincing feel for the beat. "Close Your Eyes," where she works with guitarist Chuck Morgan, is just one of the many tracks where she demonstrates her vocal skills. Unlike Day, Seidel backs herself on piano, a la Jeri Southern and Shirley Horn, with help from brother David Seidel on bass and Morgan. One of the real pleasures here is that there's no dubbing the voice on top of the instrumentation. What you hear is precisely how it was recorded in the studio very unusual in these days of high-tech wizardry where too often younger artists are less and less concerned with what they're playing and how they're playing it. This is Seidel's ninth album for La Brava, and it joins the ranks of her long line of excellent output. ~ Dave Nathan http://www.allmusic.com/album/doris-me-mw0001192154

Doris And Me

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Dick Hyman - Jelly & James: Music of Jelly Roll Morton and James P. Johnson

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 76:30
Size: 176,1 MB
Art: Front

(2:50)  1. Pep
(2:57)  2. Buddy Bolden's Blues
(2:41)  3. The Finger Breaker
(3:30)  4. The Pearls
(2:52)  5. Shreveport Stomp
(3:12)  6. King Porter Stomp
(2:35)  7. Grandpa's Spells
(2:50)  8. The Perfect Rag
(3:46)  9. The Crave
(3:26) 10. Black Bottom Stomp
(2:27) 11. Mr. Jelly-Lord
(2:13) 12. Charleston
(3:52) 13. If I Could Be with You One Hour Tonight
(3:05) 14. Caprice Rag
(7:07) 15. Selections from 'Runnin' Wild'
(4:25) 16. Snowy Morning Blues
(2:35) 17. Steeplechase Rag
(3:47) 18. Eccentricity
(2:46) 19. Carolina Balmoral
(3:01) 20. Just Before Daybreak
(3:36) 21. Jingles
(3:23) 22. Carolina Shout
(3:23) 23. You've Got to Be Modernistic

With the exception of a version of "Fickle Fay Creep," this single CD has all of the music recorded by Dick Hyman for tribute LPs for Jelly Roll Morton and James P. Johnson. By varying the instrumentation (which ranges from a piano solo and duets to a big band) and by picking musicians who really understand vintage jazz, Hyman put together two classic sets. The Morton date features such musicians as clarinetist Kenny Davern (doubling on soprano), violinist Joe Venuti, trumpeter Pee Wee Erwin, and trombonist Vic Dickenson (among others), and the highlights include Hyman's showcase on "Fingerbuster," "King Porter Stomp," "The Crave," and an exuberant "Black Bottom Stomp." The James P. Johnson project is most notable for three duets by Hyman (one on pipe organ) with cornetist Ruby Braff and for excellent orchestrations for both a theater orchestra and a jazz band. Essential music for any serious pre-bop collection. ~
Scott Yanow http://www.allmusic.com/album/jelly-and-james-music-of-jelly-roll-morton-and-james-p-johnson-mw0000088809

Personnel: Dick Hyman (piano); Kenny Davern (saxophone); Joe Venuti (violin); Milt Hinton (bass); Phil Bodner, Panama Francis.

Jelly & James: Music of Jelly Roll Morton and James P. Johnson

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Arturo Sandoval & Chucho Valdes - Straight Ahead

Styles: Trumpet And Piano Jazz 
Year: 1988
File: MP3@320K/s
Time: 45:27
Size: 104,3 MB
Art: Front

( 7:57)  1. King Pete's Heart
(10:34)  2. My Funny Valentine
( 4:32)  3. Mambo Influenciado
( 7:20)  4. Claudia
( 6:52)  5. Blues 88
( 8:10)  6. Blue Monk

With his remarkable range and phenomenal technique, Arturo Sandoval is one of the world's great trumpeters; he can do virtually anything he wants on his instrument. Some detractors have claimed that he has too much technique (is such a thing possible?) and that his recordings for GRP are a bit erratic. 

The latter criticism cannot be applied to this 1988 release. Sandoval is heard with a standard quartet comprised of the great pianist Chucho Valdes (the leader of Irakere), bassist Ron Matthewson, and drummer Martin Drew. Recorded in England before Sandoval broke ties with Cuba, Sandoval is in near-miraculous form on some blues, a lyrical "My Funny Valentine," and a few basic originals. Just listen to him tear through "Blue Monk," playing in the low register with the speed of an Al Hirt before jumping into the stratosphere like Maynard Ferguson. This CD serves as an excellent introduction for the bop lover to the very talented Arturo Sandoval. ~ Scott Yanow http://www.allmusic.com/album/straight-ahead-mw0000171274

Personnel:  Bass – Ron Matthewson;  Drums – Martin Drew;  Flugelhorn – Arturo Sandoval;  Piano – Chucho Valdes;  Trumpet – Arturo Sandoval

Straight Ahead

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Jelly Roll Morton - The Pearls

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 72:48
Size: 167,1 MB
Art: Front

(3:12)  1. Black Bottom Stomp
(3:26)  2. Smokehouse Blues
(3:11)  3. The Chant
(3:32)  4. Sidewalk Blues
(3:13)  5. Dead Man Blues
(3:07)  6. Steamboat Stomp
(2:53)  7. Grandpa's Spells
(3:08)  8. Original Jelly Roll Blues
(3:26)  9. Doctor Jazz
(2:51) 10. Cannon Ball Blues
(3:24) 11. The Pearls
(3:18) 12. Wolverine Blues
(2:50) 13. Mr. Jelly Lord
(2:30) 14. Georgia Swing
(2:53) 15. Kansas City Stomps
(3:14) 16. Shreveport Stomp
(3:25) 17. Mournful Serenade
(3:09) 18. Red Hot Pepper Stomp
(3:27) 19. Deep Creek
(2:55) 20. Freakish
(3:09) 21. Tanktown Bump
(3:13) 22. I Thought I Heard Buddy Bolden Say
(3:11) 23. Winin' Boy Blues

This astounding 23-track compilation deserves a place in everybody's jazz collection it's that important, that listenable, and that essential. It takes the cream of Morton's sessions from his legendary 1926 Red Hot Peppers to his 1939 dates leading a small New Orleans band, with all the essential stops along the way, including a 1927 trio with the Dodds brothers in Chicago. This is hot jazz nearing the apex of sophistication, just before Duke Ellington took it even more uptown. ~ Cub Koda http://www.allmusic.com/album/the-pearls-mw0000651986

Personnel: Piano, Arranged By – Jelly Roll Morton; Banjo – Johnny St. Cyr;  Bass – John Lindsey;  Bass Clarinet – Omer Simeon;  Clarinet – Barney Bigard, Darnell Howard , Johnny Dodds , Omer Simeon;  Cornet – George Mitchell;  Drums – Andrew Hilaire , Baby Dodds , Tommy Benford;  Guitar – Johnny St. Cyr;  Trombone – Geechy Fields, Kid Ory 

The Pearls

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Jeff Lorber - Flipside

Styles: Jazz Fusion
Year: 2005
File: MP3@320K/s
Time: 45:03
Size: 104,7 MB
Art: Front

(4:28)  1. Ooh La La
(4:43)  2. Everybody Knows That
(5:08)  3. By My Side
(4:04)  4. Flipside
(4:11)  5. Santa Monica Triangle
(5:00)  6. Sun Ra
(5:12)  7. Angel In Paris
(4:26)  8. Bombay Cafe
(3:09)  9. Tune 88
(4:36) 10. Enchanted Way

The legendary keyboardist started making his unique brand of old-school soul meets modern funk back when old-school was still in session, and the title of his third Narada Jazz disc is a throwback to that era, when the 45 RPM was king. Rather than overwhelm this time with hardcore commercial funk grooves and calculated radio hooks, Jeff Lorber is more into cool vibes and soulful atmospheres. Melodies have always been his gift, so those just come naturally, as on the laid-back, chillout opening track, which features a lush, loose acoustic piano lead. There are less horns than usual, but Ron King (trumpet) and Gary Meek (sax) are given free reign to create snazzy textures on "Everybody Knows That" and the nifty, acoustic soul-jazz flavored title track. "Angel in Paris" is all swinging '60s jazz-funk, complete with a shimmering Rhodes lead as only Lorber can play. Working with co-producer Steve Dubin and keyboardist Nelson Jackson, Lorber lets the tunes develop beginning with off the cuff improvisations and inspired acoustic runs, then creating easy grooving, '70s-minded rhythm beds to ground them. As the album title promises, there are a few oft-hidden sides to Lorber that are on prominent display here such as his softer heart on the classical flavored, candlelit "By My Side" and a moody blast from the past, a re-recording of "Tune 88" (originally on 1979's Water Sign) that reminds people that the style that evolved into smooth jazz was once pretty darn adventurous. There's a little darker imagery than fans of the lighter side of Lorber are used to, but isn't that what the B-sides in the old days were for? ~ Jonathan Widran http://www.allmusic.com/album/flipside-mw0000141344

Personnel:  Jeff Lorber  producer, piano, Rhodes, Wurlitzer, keyboards, guitar;  Alex Al  bass guitar;  Bill Reichenbach trombone;  Dan Higgins  tenor saxophone;  David Mann  saxophone, horn;  Eric Wall  guitar;  Gary Meek  tenor saxophone, soprano saxophone;  John Roberts  drums;  Nelson Jackson  keyboards;  Robbie Nevil  keyboards;  Ron King  trumpet;  Victor Lawrence  cello

Flipside

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Tierney Sutton - I'm With the Band

Styles: Jazz, Vocal
Year: 2005
File: MP3@320K/s
Time: 61:17
Size: 141,7 MB
Art: Front

(4:58)  1. Softly, as in a Morning Sunrise
(4:49)  2. Let's Face the Music and Dance
(2:48)  3. 'S Wonderful
(4:17)  4. Between the Devil and the Deep Blue Sea
(3:07)  5. Two for the Road
(2:37)  6. East of the Sun (And West of the Moon)
(2:56)  7. People Will Say We're In Love
(4:42)  8. If I Loved You
(2:28)  9. Surrey With the Fringe On Top
(3:16) 10. Cheek to Cheek
(4:54) 11. Blue Skies
(3:31) 12. I Get a Kick Out of You
(4:49) 13. The Lady Is a Tramp
(3:19) 14. What a Little Moonlight Will Do
(4:12) 15. On My Way to You
(4:27) 16. Devil May Care

Jazz siren Tierney Sutton has produced her masterpiece. Following five well-received recordings, Sutton has done two things that ensure the superb quality of her new recording: one, she and her band perform live; and two, she fully integrates herself into the band, where all members exist as equals. Tierney Sutton has made a dent in the jazz market by releasing smartly conceived concept recordings, usually focusing on a single artist. Introducing Tierney Sutton (Challenge, 1998) was an initial affair that honored Frank Sinatra. Unsung Heroes (Telarc, 2000) offered a program consisting of jazz standards most commonly considered instrumentals (thus its ironic title). Blue in Green (Telarc, 2001) paid homage to Bill Evans, while Something Cool (Telarc, 2002) showed Sutton stretching her repertoire to include Patsy Cline and Nat King Cole. Dancing in the Dark (Telarc, 2004) was Sutton's overt tribute to the Chairman of the Board.  I'm With the Band takes everything Tierney Sutton has been doing on these discs, throws it in the air, and allows the results to fall where they may live. 

A vocal gymnast, Sutton carries the lyrically elastic torch of Betty Carter. Her control and technique make her voice (through vocalese) an instrument in her band, not in the cliched singing sort of way, but in the real scat sense. This becomes apparent right out of the chute with her lengthy introduction and scat solo on the wonderfully upbeat and off-kilter "Softly in The Morning Sunrise." On "S'Wonderful," Sutton performs in a trio with bassist Kevin Axt and drummer Ray Brinker (also on "Shat A Little Moonlight can Do"), all of whom free-form their way through the Gershwin brothers' classic. "Between the Devil and the Deep Blue Sea" is serpentine and creamy. "Two for the Road" is lazily balladic. When not displaying her considerable vocal abilities, Sutton celebrates the talents of her longtime bandmates, effectively elevating them to equals on this recording. Christian Jacob plays splendid piano throughout, harmonically anchoring the group. Bassist Kevin Axt and drummer Ray Brinker comprise a crack rhythm section which maintains a hard swing throughout. While the program may be heavy on the Sinatra, it's great to hear this repertoire performed in such a fresh and inventive way. ~ C.Michael Bailey https://www.allaboutjazz.com/im-with-the-band-tierney-sutton-telarc-records-review-by-c-michael-bailey.php
 

Personnel: Tierney Sutton: vocals; Christian Jacob: piano; Trey Henry, Kevin Axt: bass instrument; Ray Brinker: drums.

I'm With the Band

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Bob Mintzer Big Band - The First Decade

Styles: Flute, Clarinet and Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 67:25
Size: 157,7 MB
Art: Front

(4:52)  1. Spectrum
(5:47)  2. One Man Band
(5:24)  3. My Foolish Heart
(6:11)  4. Yeah Yeah Yeah
(7:30)  5. Lazy Day
(6:42)  6. Elvin's Mambo
(6:07)  7. Hip Hop
(4:51)  8. Beyond The Limit
(6:14)  9. T.V. Blues
(6:21) 10. Mr. Fone Bone
(5:35) 11. Pots & Pans
(1:45) 12. After Thought

A versatile soloist influenced by Michael Brecker on tenor, Bob Mintzer gained experience playing with Deodato, Tito Puente (1974), Buddy Rich, Hubert Laws, and the Thad Jones/Mel Lewis Orchestra (1977). In addition to leading his own bands starting in 1978, Mintzer worked with Jaco Pastorius, Mike Mainieri, Louie Bellson, Bob Moses, and the American Saxophone Quartet. He has guested with several philharmonic orchestras and led a fine big band in New York since the mid-'80s. Mintzer, a member of the Yellowjackets since 1991 (where his bass clarinet in particular adds a great deal of color to the group), recorded regularly for DMP for a decade before moving to TVT for 1998's Quality Time. Homage to Count Basie followed in fall 2000. Live at MCG, which featured vocalist Kurt Elling, and Old School New Lessons, both of which were benefit albums for the Manchester Craftsmen's Guild in Pittsburgh, Pennsylvania, appeared in 2004 and 2006, respectively. In 2007, Mintzer released the small group session In the Moment. He returned to a big-band setting for 2008's Swing Out and 2012's For the Moment. ~ Scott Yanow http://www.allmusic.com/artist/bob-mintzer-mn0000765221/biography

Personnel: Bob Mintzer (flute, bass clarinet, saxophone, tenor saxophone); Michael Franks (vocals); Pete Yellin, Roger Rosenberg, Bob Malach (flute, saxophone); Michael Brecker, Lawrence Feldman (flute, alto saxophone); Marvin Stamm, Randy Brecker, Tim Hagans, Laurie Frink, Bob Millikan, Michael Philip Mossman, Joe Mosello, Ron Tooley (trumpet, flugelhorn); Dave Bargeron, Chris Seiter, Jim Pugh , Michael Davis , Keith O'Quinn, Bob Smith (trombone); Don Grolnick, Phil Markowitz (piano); Peter Erskine, John Riley (drums); Frank Malabé (congas).

The First Decade

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