Antonio Adolfo - Hybrido: From Rio to Wayne Shorter

Styles: Piano Jazz, Bossa Nova
Year: 2017
File: MP3@320K/s
Time: 54:54
Size: 127,1 MB
Art: Front

(5:50)  1. Deluge
(6:08)  2. Footprints
(6:49)  3. Beauty and the Beast
(6:03)  4. Prince of Darkness
(4:52)  5. Black Nile
(7:40)  6. Speak No Evil
(6:28)  7. E.S.P.
(6:40)  8. Ana Maria
(4:20)  9. Afosamba

With well over thirty albums to his name, Brazilian composer and pianist Antonio Adolfo has now conjured up a really attractive paean to the master saxophonist and composer Wayne Shorter. The selection of tracks is excellent because it clearly demonstrates just how key a figure Shorter is to jazz. It doesn't replicate the 1988 Blue Note collection The Best Of Wayne Shorter but does include three numbers from that album. "Deluge" offers a warm ensemble-led invocation of this enticing track taken from Ju Ju. Then there's a relaxed version of Shorter's classic "Footprints," embellished by Zé Renato's wordless vocals. "Prince of Darkness" from Miles Davis's 1967 album Sorcerer is lusciously percussion-rich (including a deep tabla-like Baião percussion introduction). "Black Nile" from 1964's Night Dreamer is a satisfying interpretation of the original with bright piano from Adolfo. The elegance of "Beauty And The Beast" is encapsulated in its mixture of bossa and samba (Adolfo refers to it as SamBossa) and is one of two tracks taken from Shorter's "Native Dancer" album which he recorded with Milton Nascimento. 

The title track from Speak No Evil is a model of stately modality with its majestic and memorable theme and rich tenor solo from Marcelo Martins whilst the elegant "Ana Maria," again from Native Dancer, sports some nimble guitar from Lula Galvão. To conclude the set, there's a lone self-penned number by Adolfo, "Afosamba," a perfect example of his first-rate talent as a composer. The arrangements throughout are strong and for those familiar with all the Shorter tracks it affords them a new and vibrant dimension. For those unfamiliar with the numbers, the album will serve as an excellent and enticing primer, prior to sampling the original source material. It's also a timely reminder of just how important Shorter is in terms of his illustrious back catalogue of compositions. ~ Jorge Farbey https://www.allaboutjazz.com/hybrido-from-rio-to-wayne-shorter-antonio-adolfo-aam-music-review-by-roger-farbey.php

Personnel: Piano and Arrangements: Antonio Adolfo, electric piano on #1; Electric Guitar: Lula Galvão; Double Bass: Jorge Helder; Drums and Percussion: Rafael Barata; Percussion: Andre Siqueira; Trumpet: Jessé Sadoc; Tenor and Soprano Saxes: Flute on #3: Marcelo Martins; Trombone: Serginho Trombone; Vocals on #2: Zé Renato; Acoustic Guitar on #3: Claudio Spiewak.

Hybrido: From Rio to Wayne Shorter

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Vijay Iyer - Mutations

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 60:19
Size: 138,5 MB
Art: Front

(7:39)  1. Spellbound and Sacrosanct, Cowrie Shells and the Shimmering Sea
(4:34)  2. Vuln, Part 2
(4:12)  3. Mutation I: Air
(2:44)  4. Mutation II: Rise
(5:47)  5. Mutation III: Canon
(5:26)  6. Mutation IV: Chain
(6:32)  7. Mutation V: Automata
(3:00)  8. Mutation VI: Waves
(5:59)  9. Mutation VII: Kernel
(1:34) 10. Mutation VIII: Clade
(5:17) 11. Mutation IX: Descent
(4:00) 12. Mutation X: Time
(3:30) 13. When We're Gone

There are times when it's possible to chart an artist's success through his association with record labels. Vijay Iyer who, over the past 20 years, has built a reputation for genre-defying, forward-reaching music spent the early part of his career on independent US labels including the highly regarded Pi Recordings, Savoy Jazz and Sunnyside Records. But it was with his move to Germany's ACT Music label and a series of trio and solo recordings, including the Grammy-nominated Historicity (2009), that the pianist began to garner even more attention. Still, as good as his four Act recordings were, looking at the label's overall purview it's no surprise to find him relocating elsewhere in the same city of Munich, to the more highly esteemed ECM Records. Simply put, Mutations is a recording that Iyer could never have released on ACT, and it's that very freedom to explore less-traveled terrain and the opportunity to work with an active producer in Manfred Eicher and his acute attention to sonic translucence that makes this, hopefully, the beginning of a long and creatively fecund relationship. On the strength of Mutations, it's clear that Iyer's relationship with Eicher is already bearing significant fruit. Focusing more on composition though improvisation is by no means far away at Mutation's core is the ten-part, 45-minute title suite, a dark, otherworldly piece of music for piano, string quartet and electronics. The suite is bookended by three pieces for solo piano and, in some cases, electronics: the crepuscular opener, "Spellbound and Sacrosanct, Cowrie Shells and the Shimmering Sea" first heard on the pianist's 1995 Asian Improv Records debut, Memorophilia is revamped from its original trio format into a solo vehicle, intrinsically providing Iyer more room for self-expression, especially when it comes to time; "Vuln, Pt 2" follows and, with the introduction of electronics that provide shimmering color and a subtle pulse, acts as a perfect segue into the Mutations suite; the closing "When We're Gone," with Iyer's sparely delivered abstrusities and subtle, panning electronic chimes, is the perfect coda to an hour-long journey through terrain defined by melodic cells or kernels and the manner in which subtle shifts sometimes planned, other times a function of in-the-moment decision making when it comes to how and when to incorporate them cause the very mutations that give the suite its title.

"Mutation I: Air" begins with a single bowed note, gradually joined by the rest of the string quartet to gradually build to a brighter, minimalist-oriented piece of counterpoint, a soaring violin line eventually emerging over the propulsive underpinning only to become subsumed as yet another kernel to be morphed, gradually, into something else, in this case a combination of long-bowed notes that drag the tempo down towards its conclusion. "Mutation II: Rise," is aptly titled; after a brief intro of delicately percussive electronics, the strings enter, beginning in a low register and gradually ascending until various members of the string quartet begin to inject oblique lines atop the persistent soaring of their partners. Iyer makes his first appearance in the suite on the equally well-titled "Mutation III: Canon," a contrapuntal miniature where thematic constructs and repeated phrases move in and out of the mix one moment dominating, the next, supporting. The ambitious nature of Iyer's work on Mutations may seem new, based on his extant discography; the truth, however, is something else. The MacArthur Foundation Fellowship recipient often referred to as "the genius grant," and for good reason has worked with classical instrumentation throughout his career not just writing for them, but studying violin for 15 years and playing in string quartets and orchestras. It's a history that gives Iyer the deeper understanding which makes him particularly qualified to engage in these activities, even though he's been unable to record any of this work until now. The Mutations suite was, in fact, written in 2005, but has changed considerably over time, as Iyer explains, "by working with the same notated elements but pushing the real time element more and more." "Mutation VII: Kernel" is, perhaps the best example of how Iyer combines compositionally defined constructs with the more unfettered possibilities of improvisation. Described, by Iyer, as "a kind of sculpted, open improvisation," the members of the string quartet are free to take compositional kernels and interpret them in ways that make each performance not just a new experience but, for the pianist/composer, "something new that I didn't even foresee."  Mutations is a landmark recording from an artist who, while already possessing an admirable discography, has clearly been limited to more decidedly jazz-oriented concerns. Representing a significant musical shift, if Mutations is but the first sign of the greater freedom ECM plans to afford Iyer, the only vaticinator of what's to follow will surely be its complete and utter unpredictability. ~ John Kelman https://www.allaboutjazz.com/vijay-iyer-mutations-by-john-kelman.php

Personnel: Vijay Iyer: piano, electronics (2-13); Miranda Cuckson: violin (2-12); Michi Wiancko: violin (2-12); Kyle Armbrust: viola (2-12); Kivie Cahn-Lipman: violoncello (2-12).

Mutations

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Gene Krupa, Buddy Rich - Krupa And Rich

Styles: Jazz, Swing
Year: 1955
File: MP3@320K/s
Time: 71:59
Size: 166,9 MB
Art: Front

(10:30)  1. Buddy's Blues
(13:57)  2. Bernie's Tune
( 7:47)  3. Gene's Blues
( 8:50)  4. Sweethearts On Parade
( 8:54)  5. I Never Knew
(10:51)  6. Sunday
(11:06)  7. The Monster

On this CD reissue, drummers Gene Krupa and Buddy Rich only actually play together on one of the seven songs, a lengthy rendition of "Bernie's Tune" that has a six-minute "drum battle." Krupa and Rich do perform two songs apiece with a remarkable all-star band consisting of trumpeters Dizzy Gillespie and Roy Eldridge, tenors Illinois Jacquet and Flip Phillips, pianist Oscar Peterson, guitarist Herb Ellis, and bassist Ray Brown. Each of the principals get some solo space, giving this release more variety than one might expect. In addition there are two bonus cuts from a Buddy Rich date that feature the drummer with trumpeters Thad Jones and Joe Newman, tenors Ben Webster and Frank Wess, Oscar Peterson, Ray Brown, and rhythm guitarist Freddie Green. Excellent music overall if not quite essential. ~ Scott Yanow http://www.allmusic.com/album/krupa-and-rich-mw0000111452

Personnel: Gene Krupa, Buddy Rich (drums); Dizzy Gillespie, Roy Eldridge, Thad Jones, Joe Newman (trumpet); Illinois Jacquet, Flip Phillips, Ben Webster, Frank Wess (tenor saxophone); Oscar Peterson (piano); Freddie Green, Herb Ellis (guitar); Ray Brown (bass).

Krupa And Rich

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Kathryn Williams - Relations

Styles: Vocal, Folk
Year: 2004
File: MP3@320K/s
Time: 44:33
Size: 102,2 MB
Art: Front

(3:37)  1. In A Broken Dream
(2:26)  2. Birds
(2:56)  3. Thirteen
(5:09)  4. Hallelujah
(2:49)  5. The Ballad Of Easy Rider
(2:58)  6. A Guy What Takes His Time
(3:33)  7. Candy Says
(2:34)  8. How Can We Hang On To A Dream
(3:07)  9. I Started A Joke
(2:46) 10. Easy And Me
(3:23) 11. Spit On A Stranger
(3:34) 12. All Apologies
(1:31) 13. Beautiful Cosmos
(4:02) 14. These Days

Originally released during her major-label stint and given a reissue some years later after she found her independent feet all the more strongly, Relations is that sometimes revelatory, sometimes time-killing impulse brought to life the covers album, paying homage to past inspirations old and young. Some of the choices seem obvious more by default and time due to shifting contexts mittedly Leonard Cohen's "Hallelujah" had already seemed plenty familiar again thanks to Jeff Buckley's cover at the time of the first release of Relations, but in 2010 one almost wants to beg for any other Cohen song just for a bit of contrast, however much her version, recorded live, ends on a sharp, strong note. Similarly, "All Apologies" seems like an almost too pat choice of Nirvana cover, not helped by a high-pitched string part that spills into the melodramatic from the start. Williams' takes are at the least enjoyable in a sweetly formal way, though, leaving the more unexpected choices, at least in song if not in composer, to take the lion's share of the praise. Having Neil Young's After the Gold Rush represented by "Birds" is a nice touch, Williams giving it a beautiful performance slightly touched by string parts, while picking the late Pavement single "Spit on a Stranger" is both an inspired touch and also results in a lovely remake all around. Versions of "Thirteen" by Big Star and the Velvet Underground's "Candy Says" successfully showcase Williams' particular ear for studio-shaped folk very well in turn -- the latter, in a fun touch, is actually more energetic than the original, peppier without losing its overall fragility. Perhaps the most inspired touch comes courtesy of Ivor Cutler's "Beautiful Cosmos," with the Scottish artist's sharp wit given a winning makeover. ~ Ned Raggett http://www.allmusic.com/album/relations-mw0000468331

Personnel:  Kathryn Williams - vocals, guitar, electric guitar, glockenspiel, sampler, theramin, backing vocals & percussion;  Laura Reid - cello, bass guitar, organ & backing vocals;  David Scott - guitar, electric guitar, bass guitar & backing vocals;  Johnny Bridgwood - double bass;  Alex Tustin – drums;  Joe Montgomery - violin

Relations

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Wynton Marsalis - Live At Blues Alley (Disc 1) And (Disc 2)

Album: Live At Blues Alley (disc 1)

Styles:  Trumpet Jazz
Year: 1986
File: MP3@320K/s
Time: 56:12
Size: 130,2 MB
Art: Front

( 6:03)  1. Knozz-Moe-King
( 8:21)  2. Just Friends
( 3:52)  3. Knozz-Moe-King (Interlude)
( 7:33)  4. Juan
( 2:49)  5. Cherokee
( 9:21)  6. Delfeayo's Dilemma
(15:12)  7. Chambers Of Tain
( 2:57)  8. Juan (E. Mustaad)

Live At Blues Alley (disc 1)

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Album: Live At Blues Alley (disc 2)

Year: 1986

File: MP3@320K/s

Time: 61:26

Size: 142,1 MB

(14:35)  1. Au Privave

( 2:38)  2. Knozz-Moe-King (Interlude)

(11:30)  3. Do You Know What It Means To Miss New Orleans

( 3:15)  4. Juan (Skip Mustaad)

( 9:41)  5. Autumn Leaves

( 3:49)  6. Knozz-Moe-King (Interlude)

( 9:39)  7. Skain's Domain

( 6:16)  8. Much Later

This double album features the great trumpeter Wynton Marsalis and his 1986 quartet, a unit featuring pianist Marcus Roberts, bassist Robert Hurst and drummer Jeff "Tain" Watts. Although Marsalis during this period still hinted strongly at Miles Davis, his own musical personality was starting to finally shine through. With the versatile Marcus Roberts (who thus far has been the most significant graduate from Marsalis's groups), Wynton Marsalis was beginning to explore older material, including on this set "Just Friends," and "Do You Know What It Means to Miss New Orleans?" other highlights include lengthy workouts on "Au Privave" and Kenny Kirkland's "Chambers of Tain." This two-fer is recommended, as are virtually all of Wynton Marsalis's recordings. ~ Scott Yanow http://www.allmusic.com/album/live-at-blues-alley-mw0000652043

Personnel: Wynton Marsalis (trumpet); Marcus Roberts (piano); Robert Leslie Hurst III (bass); Jeff "Tain" Watts (drums).

Live At Blues Alley (disc 2)

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Vijay Iyer - Blood Sutra

Styles: Piano Jazz 
Year: 1999
File: MP3@320K/s
Time: 58:14
Size: 135,4 MB
Art: Front

(2:12)  1. Proximity
(6:09)  2. Brute Facts
(5:58)  3. Habeas Corpus
(1:22)  4. Ascent
(6:07)  5. When History Sleeps
(5:10)  6. Questions of Agency
(6:10)  7. Kinship
(4:02)  8. Stigmatism
(2:31)  9. That Much Music
(6:10) 10. Imagined Nations
(7:46) 11. Because of Guns
(4:33) 12. Desiring

You get the feeling that piansist Vijay Iyer is shifting into a period of transition with the opening track on his new CD, Blood Sutra. "Proximity (Crossroads)" is uncharacteristicaly for Iyer a slow tempo bit of introspection, with a swish of brush and stickwork painting washes behind the hard-edged piano notes. But the "Brute Facts" jolts out of the speakers next, in a full frontal assault, in very Iyer-esque fashion. Propulsive, urgent, jarring even, riding a relentless rhythmic momentum, forward, always forward with Iyer. The pianist is becoming the new standard bearer of the percussive school of playing, and he has picked some very simpatico bandmates to help him push his musical vision out there. As on his ground-breaking Panoptic Modes (Red Giant, 2001), Rudesh Mahanthappa is back blowing alto sax; and his is a rather flat, low resonance tone that compliments Iyer's ringing aggressivness. Stephan Crump is here again, too, on bass, and his sound lends a bit of fluidity and looseness to the drive; while drummer Tysheen Sorey (new to me) asserts his timekeeping chops no small feat when playing with Iyer. An initial listen to Blood Sutra had me thinking "no new ground broken here" since Panoptic Modes and You Life Flashes (Pi Records, 2002) by Fieldwork, an Iyer trio vehicle. But a "sit down and concentrate on the sounds" session reveals nuances and subtle shadings creeping in. "A Question of Agency" is particularly interesting with its four way interplay; and "Because of Guns/ Hey Joe Redux" resurrects in fittingly ominous fashion – the old blues tune, done probably most famously by Jimi Hendrix on his first album. "Stigmatism" plays as I write this, and Stephan Crump's bass seems to be trying to push Iyer's sharp notes that the piansist drives down like tent stakes around, with mixed, but beautiful results. And now "This Much Music" brings Cecil Taylor to mind.Vijay Iyer evolves in fascinating fashion. ~ Dan McClenaghan https://www.allaboutjazz.com/blood-sutra-vijay-iyer-artists-house-review-by-dan-mcclenaghan.php

Personnel: Vijay Iyer-piano; Rudresh Mahanthappa-alto sax; Stephan Crump-bass; Tyshawn Sorey-drums

Blood Sutra

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Charles Davis - Land of Dreams

Styles: Saxophone Jazz
Year: 2007
File: MP3@256K/s
Time: 63:48
Size: 117,4 MB
Art: Front

( 7:41)  1. JC (Davis)
( 6:36)  2. Moon Nocturne
( 5:44)  3. How Am I to Know?
(10:33)  4. If You Could See Me Now
( 8:26)  5. Love for Sale
( 7:09)  6. Some Wandering Bushman
( 6:32)  7. Strangeness
( 5:35)  8. We See
( 5:27)  9. Land of Dreams

In the shrinking world of "legendary" jazz performers, all star sessions and one-offs are the norm. This release is a rare treat that gives a real look-see at saxophonist Charles Davis in the context of his working band. Davis, with his baritone sax, was part of the seminal Jazz Composer's Orchestra and early groups fronted by Sun Ra. Among a host of other top-flight ensembles, he also anchored the reed sections for saxophonist Ben Webster and trumpeter Kenny Dorham. His sessions as a leader have been all too infrequent but with Land of Dreams that is somewhat rectified as he steps to the front on tenor and soprano sax. 

It is obvious from this release that Davis has been working and putting in a lot of time with pianist Tardo Hammer and a rhythm section of Lee Hudson on bass and drummer Jimmy Wormworth. There is an integrative spiritual feel to these compositions, which are heavy on the traditional but also include a few originals, that can only come from a band playing together. Beginning with a reverential Tranesque consecration, "JC" quickly turns into a swinger that allows Hammer to show some of his sway. Interestingly, Davis seems particularly suited to exploring the soprano sax and his improvisational forays with the instrument on the lightly swinging "Moon Nocturne" and intriguing Herbie Nichols composition "Some Wandering Bushman" as well as Monk's "We See" are highlights. His tenor fills the room with a smoky Ben Webster mood on the gorgeous Tadd Dameron ballad "If You Could See Me Now" and chomps and growls a bit on a jazzy-bossa version of "How Am I to Know?" The title cut, a "Cherokee"-inspired bopper, brings this recording to a quick-paced swinging conclusion. ~ Elliott Simon https://www.allaboutjazz.com/land-of-dreams-charles-davis-smalls-records-review-by-elliott-simon.php

Personnel: Charles Davis: tenor and soprano saxophone; Tardo Hammer: piano; Lee Hudson: bass; Jimmy Wormworth: drums.

Land of Dreams

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Wynton Kelly Featuring Hank Mobley - Interpretations

Styles: Piano Jazz
Year: 1967
File: MP3@320K/s
Time: 77:35
Size: 180,5 MB
Art: Front

(15:20)  1. On A Clear Day~Interlude
(15:09)  2. Hackensack
(15:11)  3. On Green Dolphin Street
(15:45)  4. Milestones
(16:09)  5. Speak Low~Theme

Wynton Kelly (pianist) was born in Jamaica on December 2, 1931 and passed away on April 12, 1971 in Toronto, Ontario, Canada.Wynton Kelly was  a greatly underrated talent, who was both an elegant piano soloist with a rhythmically infectious solo style in which he combined boppish lines with a great feeling for the blues as well as a particularly accomplished accompanist, gifted with perfect pitch and a highly individual block chording style. Kelly’s work was always highly melodic, especially in his ballad performances, while an irresistible sense of swing informed his mid and up-tempo performances. Though he was born on the island of Jamaica, Wynton grew up in Brooklyn. His academic training appears to have been brief, but he was a fast musical developer who made his professional debut in 1943, at the age of eleven or twelve. His initial musical environment was the burgeoning Rhythm and Blues scene of the mid to late 1940s. Wynton played his first important gig with the R&B combo of tenor saxophonist Ray Abrams in 1947. He spent time in hard hitting R&B combos led by Hot Lips Page, Eddie “Cleanhead” Vinson and Eddie “Lockjaw” Davis, in addition to the gentler environment of Johnny Moore’s Three Blazers. In April 1949, Wynton played piano backing vocalist Babs Gonzales in a band that also included J.J. Johnson, Roy Haynes and a young Sonny Rollins. Kelly’s first big break in the jazz world came in 1951, when he became Dinah Washington’s accompanist. In July 1951 Kelly also made his recording debut as a leader on the Blue Note label at the age of 19. After his initial stint with Dinah Washington Kelly gigged with the combos of Lester Young and Dizzy Gillespie and recorded with Gillespie’s quintet in 1952. 

Wynton fulfilled his army service between 1952 and the summer or 1954 and then rejoined Washington and the Dizzy Gillespie Big Band (1957). By this time Kelly had become one of the most in demand pianists on record. He distinguished himself on record with such talent as J.J. Johnson, Sonny Rollins, Johnny Griffin and especially Hank Mobley whom Kelly inspired to some of his best work on classic Blue Note albums like Soul Station, Work Out, and Roll Call. Wynton proved himself as a superb accompanist on the Billie Holiday Clef sessions of June 1956 and showed his mettle both as an accompanist and soloist on the star-studded Norman Granz session with Coleman Hawkins, Paul Gonsalves, Dizzy Gillespie and Stan Getz in 1957 that produced the fine Sittin’ In album on the Verve label. In 1957 Kelly left Gillespie and formed his own trio. He finally recorded his second album as a leader for the Riverside label in January 1958, six years after his Blue Note debut. In early 1959 Miles Davis invited Wynton to joint his sextet as a replacement for Bill Evans. Kind of Blue, recorded in March 1959, on which he shares the piano stool with Evans, Kelly excels on the track “Freddie Freeloader” a medium temp side that is closest to the more theory-free jazz of the mid-fifties. Wynton proved a worthy successor to Red Garland and Bill Evans in the Miles Davis combo, together with bassist Paul Chambers and drummer Jimmy Cobb, an old colleague from Dinah Washington’s rhythm section, he established a formidable rapport. Kelly likewise appears on a single track from John Coltrane’s Giant Steps, replacing Tommy Flanagan on “Naima”.

During his stay with Davis, Kelly recorded his fine Kelly Blue for Riverside and three albums for Vee Jay. By the end of 1962 Kelly, Chambers and Cobb formed the Wynton Kelly Trio, which soon made its mark. The Kelly Trio remained a regular unit for a number of years and reached the height of their popularity after they joined up with guitarist Wes Montgomery, resulting in three albums, a live set in New York’s Half Note, a September 1965 studio album for Verve, and a live set at the Half Note for the Xanadu Label. Kelly’s trio, now with Cecil McBee and Ron McClure kept working during till the late 1960s. Kelly suffered from epilepsy most of his life, and succumbed to a heart attack induced by a seizure in Toronto, Canada on April 12, 1971 at the age of 39. Kelly had a daughter, Tracy, in 1963, with partner Anne. The track “Little Tracy”, on the LP Comin’ in the Back Door, is named after Kelly’s daughter. Tracy Matisak is a now a Philadelphia television personality. Kelly recorded as a leader for Blue Note, Riverside Records, Vee-Jay, Verve, and Milestone. Kelly had a daughter, Tracy, in 1963, with partner Anne. The track “Little Tracy”, on the LP Comin’ in the Back Door, is named after Kelly’s daughter. Tracy Matisak is a now a Philadelphia television personality. Kelly’s second cousin, bassist Marcus Miller, also performed with Miles Davis in the 1980s and 1990s. Another cousin is pianist Randy Weston. http://wyntonkelly.jazzgiants.net/biography/

Personnel: Wynton Kelly (piano); Hank Mobley (tenor saxophone); Jimmy Cobb (drums), Cecil McBee (bass).

Interpretations

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Amanda Brecker - Way to Be

Styles: Vocal, Latin Jazz
Year: 2014
File: MP3@320K/s
Time: 41:49
Size: 96,1 MB
Art: Front

(4:26)  1. Free
(3:13)  2. Ciranda (feat. Tiago Iorc)
(3:26)  3. Evolution of Love
(3:43)  4. De Noite na Cama
(2:50)  5. Way to Be
(3:24)  6. Papo Furado (feat. Projeto Quabales)
(2:46)  7. Long Way to Go
(3:22)  8. Gimme Your Sunshine
(3:31)  9. Running
(4:11) 10. Far Away You Are
(3:08) 11. Águas de Março
(3:44) 12. Voa

Amanda Brecker is a singer/songwriter from New York City. In 2008, she signed her first record deal with Birds Records in Japan and released her first album, entitled ”Here I Am.” Shortly after, her composition “Novo Lugar” became the theme song on the Japanese Television Series, “Giants of Beauty.” That same year in Japan, her album received the Gold Disc Award, Best New Talent Award and New Star Award by Swing Journal. She also received the New Star International Prize by ADLIB. “Here I Am” went on to become the #1 Best selling Jazz Vocal CD of the summer of 2008. Amanda’s second album, “Brazilian Passion,” was released in Japan in 2009. This album is a blend of Brazilian and American music, which represents Amanda’s background. Most of the songs on the album are influenced by Brazilian rhythms and features four of Amanda’s original compositions. Amongst well known covers, the album includes special guest and Brazilian legend, Ivan Lins, who sings on two of the tracks with Amanda. This album received the Gold Disc Award by Swing Journal, Japan in 2009. In November 2010, Amanda left Birds Records and signed with Universal Music Japan. She then recorded her third album, “Blossom”, produced by Grammy Award winning singer/songwriter Jesse Harris. “Blossom”, a concept proposed by Universal, is a tribute album dedicated to James Taylor and Carole King. Musicians on the album include some of James Taylor and Carole King’s working band: Lee Sklar (bass), Russ Kunkel (drums) and Larry Goldings (piano/keyboard), plus Jesse Harris (acoustic guitar) and Anthony Wilson (electric guitar). The album was released in Japan in May of 2011 in celebration of the 40th Anniversary of Carole King’s “Tapestry” album. Two years later, the album was released in the United States on February 26th, 2012.  Amanda’s talent was notible at a very young age.  At age 5, she easily invented melodies, harmonies and words of her own while singing and playing the piano, which displayed a natural inclination for songwriting.  She comes from a long line of musicians and is the daughter of Brazilian pianist/singer Eliane Elias and the trumpeter Randy Brecker, two very prominent artists on the Jazz scene. 

Her uncle is the late saxophonist, Michael Brecker. When Amanda was 8 years old, she sang on Eliane Elias’s album “Fantasia,” interpreting Milton Nascimento’s “Ponta de Areia”, a performance that brought the composer to tears. Following the recording, Amanda performed live with Milton Nascimento in Paris when she was 9 years old. Prior to starting her solo career , she sang on several of Eliane Elias’s albums and performed live with her mother on various occasions. Amanda began writing songs on the piano when she was fifteen years old. She picked up the guitar three years ago, which opened up a whole new perspective for her as a songwriter. She recently recorded a new album entitled “Way To Be”, which is a blend of Brazilian/American contemporary pop music infused with percussive rhythms from different areas of Brazil. The album was recorded in Los Angeles with producers Jesse Harris and Mario Caldato (Bebel Gilberto, Beastie Boys, Vanessa Da Mata, Marisa Monte, Jack Johnson, Planet Hemp), and includes many original compositions by Amanda Brecker. Included on the album is a duet, ‘Ciranda’,’ with Brazilian artist, Tiago Iorc. She also recorded a track, ‘Papo Furado,’ with the participation of Projeto Quabales from Salvador, Bahia. “Way To Be” was released in Japan through Universal Records on July 9th. Brazil and US release to be announced. Stay tuned for updates! http://www.amandabrecker.com/site/bio

Personnel:  Vocals, Acoustic Guitar – Amanda Elias Brecker;  Acoustic Guitar, Electric Guitar – João Pedro Mourão;  Drums, Percussion, Electronics – Mauro Refosco;  Electric Bass, Electric Upright Bass, Cello – Gabriel Noel;  Electric Guitar – Anthony Wilson (tracks: 1,8,11,12);  Electric Piano, Piano – Sam Barsh;  Tenor Saxophone – Ada Rovatti (tracks: 4,6); Trumpet, Flugelhorn – Randy Brecker (tracks: 4, 5);  Twelve-String Guitar – Jesse Harris (tracks: 3,4,7,9,10,12);  Vocals – Tiago Iorc (tracks: 2,12)

Way to Be

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Chris Botti - Night Sessions

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 52:21
Size: 120,2 MB
Art: Front

(5:10)  1. Lisa
(4:33)  2. Miami Overnight
(3:45)  3. Streets Ahead
(0:30)  4. Interlude
(5:03)  5. All Would Envy
(5:01)  6. Best Time
(4:16)  7. When I See You
(5:10)  8. You Move Me
(4:12)  9. Blue Horizon
(4:40) 10. Light The Stars
(4:19) 11. Through An Open Window
(5:38) 12. Easter Parade

How often do you purchase a CD and love it in its entirety? If you love jazz or just good music, buy this CD and experience that rare feeling. Night Sessions is a soon to be classic album. This is jazz at its finest! The musicianship is incredible! Botti is an excellent trumpet player and each of the musicians featured on this CD are top-notch; Dominic Miller on guitar, Christian McBride, Jeff Lorber, Vinni Colaiuta on drums, Billy Childs on keyboards and Bill Reichenback on trombone all turn in stunning performances. Listen to these unbelievable performances and be transported into a jazz club with its dark atmosphere and wonderful ambience.Night Sessions will be propelled onto the radio and up the charts because of one song. "All Would Envy" was written by Sting and is sung by Shawn Colvin. The song is pure genius. It has a Brazilian flavor and is beautifully sung by Colvin. But "All" is not the only fantastic track. Other highlights include: "Miami Overnight," "Streets Ahead," and "Blue Horizon." However, the CDs best and most rockin' and probably most commercial track is "Through an Open Window," with its great fretwork and smooth melody. "Lisa," "Easter Parade" "Streets Ahead" (which features Lorber) and "When I See You" are also strong tracks. See what I mean, every track is excellent. Buy Night Sessions and find your favorite among the twelve gems. ~ Mike Perciaccante https://www.allaboutjazz.com/night-sessions-chris-botti-columbia-records-review-by-mike-perciaccante.php

Personnel:  Shawn Colvin: vocals;  Billy Childs: keyboards;  Bill Reichenbach: trombone;  Jeff Lorber: keyboards;  Chris Botti: trumpet;  Ed Cherney: mixing; Vinnie Colaiuta: drums;  Luis Conte: percussion, drums;  Shane Fontayne: guitar;  Lani Groves: vocals;  Abraham Laboriel: drums; Kazu Matsui: shakuhachi; Christian McBride: bass;  Dominic Miller: guitar;  Marc Shulman: guitar;  La Camilla: vocals;  Heitor Teixeira Pereira: guitar;  Jimmy Johnson: bass; Jeff Scott Young: keyboards.

Night Sessions

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John Fedchock New York Big Band - No Nonsense

Styles: Trombone Jazz
Year: 2002
File: MP3@256K/s
Time: 71:04
Size: 130,5 MB
Art: Front

( 7:34)  1. No Nonsense
( 7:23)  2. Big Bruiser
( 4:42)  3. Eclipse
( 7:25)  4. Caribbean Fire Dance
( 6:01)  5. Tricotism
( 7:28)  6. Brazilian Fantasy
( 6:49)  7. Eleven Nights
( 8:26)  8. Epistrophy
( 5:03)  9. Come Sunday
(10:08) 10. Blue After Two

By the time this review has been written and (I hope!) read, trombonist John Fedchock will be on the final leg of a seven-month-long world tour that has included stops in Sweden, Norway, South Africa and a number of cities here in the US. Before leaving, Fedchock and his star-laden New York Big Band gathered at Avatar Studios in the Big Apple to record their third album for Reservoir Records, and it's a corker from end to end. Fedchock, as good a writer as he is a player (trust me: that's plenty good), composed half of the ten selections on the suitably named No Nonsense and arranged everything else Freddie Hubbard's 'Eclipse,' Joe Henderson's 'Caribbean Fire Dance,' Oscar Pettiford's 'Tricotism,' Monk's 'Epistrophy,' Ellington's 'Come Sunday.' Fedchock keeps the listener engaged by introducing a wide variety of moods, styles and tempos, each clothed in a contemporary big-band wardrobe designed to bring out the best in the ensemble and its phalanx of world-class soloists. 'As a bandleader,' Fedchock says, 'it's a great luxury to have players of this caliber in my group.' That it is. The ensemble responds to every challenge with equal parts passion and poise, keeping the ship on an even keel while the rock-ribbed rhythm section, anchored by drummer Dave Ratajczak and including bassist Lynn Seaton and pianist Allen Farnham, takes care of business in the engine room. 

Everyone is tested immediately on the stormy 'No Nonsense' (solos by Farnham, tenor Rick Margitza, flugel Scott Wendholt and the leader). Fedchock also shows his mastery of the Basie-style shuffle ('Big Bruiser'), samba ('Brazilian Fantasy'), bossa ('Eleven Nights') and big-band blues ('Blue After Two'). There are two ballads, with Fedchock's lyrical trombone showcased on the graceful 'Eclipse,' Scott Robinson's muscular baritone on the soulful 'Come Sunday.' As all of the soloists are excellent one hesitates to single any of them out, but Seaton is notably impressive on 'Tricotism' and (uncredited) 'Blues for Two,' as are tenor Rich Perry on 'Big Bruiser,' Wendholt and alto Charles Pillow on 'Brazilian Fantasy'while Mark Vinci shines on alto flute ('Eleven Nights') and alto sax ('Blues for Two'). Others heard to good advantage are Margitza, Ratajczak and trumpeter Barry Ries (muted and open on the flashy 'Caribbean Fire Dance'), Ries again, this time on flugel ('Eleven Nights'), Pillow (soprano), Wendholt (flugel) and Perry ('Epistrophy'). Fedchock appears on every number except 'Brazilian Fantasy,' 'Epistrophy' and 'Come Sunday,' and each of his solos is a model of assertive craftsmanship and level-headed eloquence. No kidding, No Nonsense is assuredly the NYBB's finest album to date, remarkable in almost every respect, enhanced by topnotch recorded sound and a 71:09 playing time that speaks for itself. This is a review, not a critique, as there's really nothing here to criticize. ~ Jack Bowers https://www.allaboutjazz.com/no-nonsense-john-fedchock-reservoir-music-review-by-jack-bowers.php 
 

Personnel: John Fedchock, leader, arranger, trombone; Mark Vinci, alto, soprano sax, flute, alto flute; Charles Pillow, alto, soprano sax, clarinet; Rich Perry, tenor sax, flute; Rick Margitza, tenor sax; Scott Robinson, baritone sax; Tony Kadleck, Craig Johnson, Scott Wendholt, Barry Ries, trumpet, flugelhorn; Keith O Quinn, Clark Gayton, trombone; George Flynn, bass trombone; Allen Farnham, piano; Lynn Seaton, bass; Dave Ratajczak, drums; Bobby Sanabria (4), percussion.

No Nonsense

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Michele Bensen & The Bob Alberti Trio - Moments Like This

Size: 127,4 MB
Time: 54:42
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. Moments Like This (4:04)
02. Too Late Now (4:52)
03. It Might As Well Be Spring (3:31)
04. Why Did I Choose You (3:40)
05. It's Been A Long, Long Time - If I Could Be With You (Medley) (4:21)
06. Don't Go To Strangers (Feat. Ben Tucker) (4:48)
07. The Shining Sea (3:39)
08. Impossible (5:00)
09. Lush Life (5:17)
10. Two For The Road (4:20)
11. There'll Be Another Spring (3:17)
12. You Do Something To Me (2:19)
13. This Is Always (5:28)

Personnel:
Michele Bensen: vocalist
Bob Alberti: piano
Lee Burrows: bass
Chris Russell: drums
Ben Tucker: bass (on Don’t Go to Strangers)

Rarely does one encounter a studio recording that isn’t processed through multi-tracking with the intent of producing a flawless product through electronic debugging. Listeners may become so accustomed to such products that they may have forgotten how purely beautiful a gem can be created with live musicians playing together in naturally synchronized musicality, speaking music directly among themselves with complete understanding of every nuance that occurs among them. Finding such a product offers never-ending and even increased pleasure upon repeated listening. It is truly a gift that keeps on giving.
Moments Like This are rare treasures that cannot be manufactured but only captured. It is clear from the opening 16 bars of the title song that a musical love affair was occurring among the musicians. By musicians I mean the quartet because Michele (a former trumpet player) leaves no doubt that she is a true musician whose instrument is her voice. Every song is an adventure into a musical sanctuary with Michele as preacher and the trio as her “amen corner.” If you are a sophisticated listener, you will find yourself smiling numerous times during every rendition from the subtle and ingenious interplay of the spontaneous performances. If you are a music lover of good taste only, you will add this to your playlist favorites. If you are a romantic, you will find yourself falling in love again or remembering how it felt to be in love. If your heart has ever been broken, these songs will remind you that it was worth it.
The choice of songs is tailor-made for gourmet audiophiles. The menu of 13 tasty selections by masterful composers and lyricists is so delicious in its own right that it only requires a classy serving staff to present it with love and respect for the storylines, harmonies, rhythms and emotional palette each song was composed to convey. If you have never tasted the fare of a 5-star restaurant, you will surely be licking your chops as you sample each item on this menu.
I could write a full page of accolades about each tune but would rather leave that to you, the listener to discover on your own. I’ll simply say that having listened at least 8 times so far, I discover new delights with every hearing. This CD will stay in my car so I won’t mind traffic congestion ever again.
Instead I will offer some impressions of the musicians. With this long-awaited offering Michele Bensen leaves no doubt that she ranks as one of the best vocalists of modern American music. Her voice is at once clear, warm, and sensitive to her accompanists and material, as she caresses each phrase to highlight the intrinsic beauty of the music packaged in her unique, subtly stylistic delivery. Her graceful nuances are perfectly in sync with the entire musical landscape provided by her colleagues. Billy Eckstine told me on many occasions that the jazz insiders judge singers by the way they sing Lush Life. He related how irritated Billy Strayhorn would become, when a particular note (C natural in the second phrase of the main chorus) was not acknowledged on several famous recordings by major artists, but he was very happy when it was respected and sung where he placed it. Michele passed this test with flying colors on her rendering, which in itself will gain her much respect among major league vocalists.
Bob Alberti, has musical magic in his fingers that is impressively evident in his piano introductions and accompaniments that consistently engage in conversation with Michele musically and rhythmically. He is also a harmonic genius who can say volumes with one chord or a melodic motif in a split second. You might detect that he inserts a blues bent into his solos where you would never expect it. I almost fell on the floor when he inserted a phrase from “Stardust” in the last 3 beats of the second bridge of “Too LateNow.”
Lee Burrows is a bassist who seems to psychically anticipate Bob’s ever fresh and innovative chord progressions with just the right choice of notes and direction of movement. His presence blends so well with Bob and Bob’s understanding of harmonic roots is so stylistically synchronous with Lee’s that one must listen carefully to realize that at times Michele and Bob are performing in duo format, yet when Lee joins them the transition is barely noticeable. Lee’s bass solos further display his total sense of melody, harmony and swing.
Chris Russell fully realizes his role as percussionist in such a quartet. He stirs the stew just enough to create almost unobtrusive waves of energy that will make you move your head or pat your foot without any distraction from the other players. When it comes time to swing, Chris has the finesse of a Jo Jones, who laid down the laws of swing for all drummers.
Ben Tucker, well known as a bass players’ bassist, appears only on Track 6, “Don’t Go to Strangers.” Here he shows his appreciation and respect for Michele’s artistry as he blends seamlessly and tastefully with Bob’s musical portraiture of this classic and poignant ballad.
Without saying anything further to spoil your adventure through this wonderland of beautifully performed music, I leave it to the listener to enjoy what I can only describe in a few words as “ear candy” or in a single word “masterpiece.”
Written by; Nelson E. Harrison, Ph.D, composer, lyricist, arranger, veteran trombonist of the Count Basie Orchestra.

Moments Like This

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Nat King Cole Trio - Swiss Radio Days Vol. 43: Nat King Cole Trio Zurich 1950

Size: 125,2 MB
Time: 53:53
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz, Vocal Jazz
Art: Front

01. Nothing To Fret About (2:14)
02. Tea For Two (3:51)
03. Body And Soul (4:34)
04. Too Marvelous For Words (2:58)
05. Bop Kick (3:37)
06. Saint Louis Blues & Bluesology (6:22)
07. In The Cool Of The Evening (3:58)
08. Go Bongo (4:24)
09. How High The Moon (5:02)
10. Summertime (2:45)
11. Embraceable You (2:44)
12. Poor Butterfly (3:41)
13. Little Girl (2:08)
14. Sweet Lorraine (2:56)
15. Route 66 (2:34)

Nat King Cole means two very different things to two different segments of the music-loving populace today. To those simply plugged into popular culture he's the golden-voiced baritone crooner, debonair and delightful as can be while travelling over the airwaves. But to those steeped in jazz history he's known as a mighty and true pianist, throwing down the gauntlet at Jazz at the Philharmonic shows, pushing a then-progressive agenda with fellow giants Buddy Rich and Lester Young, and walking a beautifully straight line in a more conventional trio setting. For some, never the twain shall meet when it comes to these two different Coles. But in reality there was only one, and this date shows it.

By 1950, both sides of Cole's musical persona were already established. He'd been making waves as a pianist as far back as the mid-to-late '30s and his status as a vocalist, bolstered by a string of hits like "The Christmas Song" and "Nature Boy," contributed greatly in his steady rise toward mainstream pop stardom a decade later. This live recording, captured in October of 1950 at Kongresshaus Zurich and seeing its first release in its entirety here, favors the ivory-tickling side of Cole's personality. But it does so without denying the voice its place. The pipes produce an appropriately upbeat and swoon-inducing "Too Marvelous For Words," a dreamy "Embraceable You," a peppy and charming "Little Girl" (met with rapturous applause and whistling), a gently gliding "Sweet Lorraine," and a "Route 66" that's as snazzy as any take of that Cole-associated classic; the piano does the talking for him on the other two-thirds of the program.

The ten instrumental numbers found herein don't find Cole completely cutting loose—this is a concert after all, not a jam session—but they do find him near the peak of his expressive powers. He runs wild over Jack Costanzo's bongos on his own "Bop Kick," extemporizes on "Saint Louis Blues" in stellar fashion, commands attention in setting the scene for a purposeful "Summertime," tickles the keys on "Poor Butterfly," and paints a picture of pure class on "Body And Soul." Had Cole never opened his mouth, he still would've been a star.

While Cole captures attention throughout with his musical mastery and banter, he's never a glory hound. Each of his sidemen gets a feature number—guitarist Irving C Ashby is showcased on his own "Nothing To Fret About," bassist Joe Comfort on "Tea For Two," and Costanzo on the somewhat tacky "Go Bongo"—and Cole constantly shares the spotlight elsewhere. His rapport with the musicians in this augmented trio is always evident during the program. Whether you love the man for his voice, his piano, his personality, or a combination of all three, there's much to enjoy on this one. ~Dan Bilawsky

Personnel: Nat King Cole: piano, vocals; Irving Ashby: guitar; Joe Comfort: bass; Jack Costanza: bongos.

Swiss Radio Days Vol. 43

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Tom Rizzo - Day And Night

Size: 125,2 MB
Time: 53:53
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz, Vocal Jazz
Art: Front

01. Nothing To Fret About (2:14)
02. Tea For Two (3:51)
03. Body And Soul (4:34)
04. Too Marvelous For Words (2:58)
05. Bop Kick (3:37)
06. Saint Louis Blues & Bluesology (6:22)
07. In The Cool Of The Evening (3:58)
08. Go Bongo (4:24)
09. How High The Moon (5:02)
10. Summertime (2:45)
11. Embraceable You (2:44)
12. Poor Butterfly (3:41)
13. Little Girl (2:08)
14. Sweet Lorraine (2:56)
15. Route 66 (2:34)

The names in guitarist Tom Rizzo's starting lineup on Day and Night indicate that this is a West Coast-based group, an observation that is borne out in Rizzo's bio, which says he is "active [on] the Los Angeles music scene" and served as guitarist for the Tonight Show band when Jay Leno was at the helm, reinforced by the song "Heart of L.A.," one of Rizzo's four original compositions.

Rizzo's tentet, featuring some of the Los Angeles area's leading sidemen (trumpeter Bob Summers, trombonist Nick Lane, saxophonists Bob Sheppard and Jeff Driskill among them), appears on five tracks, with Rizzo's quartet on the other half-dozen. Lane and Sheppard (tenor) solo smartly on Stevie Wonder's "Living for the City," and Sheppard on Vincent Youmans' "Without a Song," performed in flag- waver mode. Aside from that, the larger ensemble is on hand to provide body and color. Rizzo—whose chops, by the way, are beyond reproach, as is his luminous sound—solos most often, sharing blowing space with pianist Dennis Hamm on the quartet numbers. Hamm, best known for his sorties into Latin jazz, is perfectly at home here, designing a number of trim and stylish ad libs.

The choice of music is eclectic, to say the least. Besides "Heart of L.A.," Rizzo wrote "School Days" (which sounds much like the song written by Gus Edwards way back in 1907), the doleful, Western-tinged "Lonesome Cowboy" and "Matt and Kelly," a laid-back postscript to Henry Mancini's haunting "Moon River," which ends the session. Also on the menu are Cole Porter's "So in Love," Wayne Shorter's "Infant Eyes" (whose engaging melody has less impact when played at a languid tempo), guitarist Peter Bernstein's genial "Little Green Men" and Ornette Coleman's "Law Years."

Before closing, a word should be said about bassist David Hughes and drummer Steve Schaeffer who round out the quartet in splendid fashion. If this is not a working group it probably should be. And if Day and Night isn't widely heard that's no fault of Rizzo, who has sculpted a handsome album that is sure to please most jazz-directed ears. ~by Jack Bowers

Personnel: Tom Rizzo: guitar; Bob Summers: trumpet; Bob Sheppard: tenor sax; Jeff Driskill: soprano sax; John Dickson: French horn; Doug Tornquist: tuba; Nick Lane: trombone; Dennis Hamm: piano; David Hughes: bass; Steve Schaeffer: drums.

Day And Night

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Terry Gibbs - 92 Years Young: Jammin' At The Gibbs' House

Size: 178,5 MB
Time: 76:36
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. (Back Home Again In) Indiana (4:37)
02. Yesterdays (5:38)
03. The Shadow Of Your Smile (5:41)
04. What's New (4:47)
05. Take The 'A' Train (5:20)
06. Blues For Hamp (6:33)
07. I'm Getting Sentimental Over You (6:49)
08. Between The Devil And The Deep Blue Sea (6:43)
09. Autumn Leaves (6:40)
10. Yardbird Suite (3:24)
11. All The Things You Are (5:24)
12. Just Some G Minor Blues (5:24)
13. Imagination (4:49)
14. Here It Is (4:19)
15. Closing Remarks (0:20)

For a brief moment, put aside the fact that legendary vibraphonist Terry Gibbs is now ninety-two years old. Just listen to the YouTube video at the bottom of this piece—lyrical, swinging, and vibrant as any jazz out there—and take it in. It's something beautiful, right? Nothing radical or groundbreaking at all, but most certainly jazz of the highest order. Now, go back to Gibbs' age. At ninety-two, he's at a point where most of his peers are either gone from this earth or lacking the vitality that served them well in their younger years. Few make it to that stage and far fewer have much to celebrate if they do. But Gibbs is that one-in-a-million man, loving life, smiling away, and still making his mark as one of the greatest vibraphonists of all time.

Gibbs essentially went into retirement around the time that he gained nonagenarian status, but when a one-off jam session at his house yielded a YouTube video that went viral overnight, the idea of making another album surfaced. Whaling City Sound's Neal Weiss approached him about it and, despite the fact that Gibbs had declined Weiss' offers to record in the recent past, he agreed. There was just one condition: the vibes legend didn't want to go into a studio, so he offered up the idea of recording a jam session in his own home. Weiss was game for that, the plans were put together, the music was recorded and mastered, and here we have it—or about half of it, anyway. Over the course of four days in 2016, Gibbs and his band for the occasion—John Campbell on piano, Mike Gurrola on bass, and son-labelmate Gerry Gibbs on drums—recorded thirty-one songs. Gibbs picked the performances he liked best, and that's what made it onto the album.

When taken with the aforementioned information, what makes this recording all the more remarkable is the fact that there were no written arrangements and most everything was done in a single take. In the end, musical self-assuredness coupled with spontaneity helped to create pure perfection. That's apparent in Campbell's smart juxtaposition of a familiar bebop strain against Gibbs' "Back Home In Indiana" melody line, the vibraphonist's classy and glowing cadenza at the tail end of "What's New?," some playfully traded fours between both Gibbs men in various spots, and the interlaced piano and vibraphone streams on "Yardbird Suite." And that's merely a handful of bright moments on an album overflowing with them. Time may remain an unbeatable adversary for all mankind, but it's beautifully clear that Terry Gibbs has yet to acknowledge and accept that inevitable truth. Long may his mallets move. ~Dan Bilawsky

Personnel: Terry Gibbs: vibraphone; Gerry Gibbs: drums; John Campbell: piano; Mike Gurrola: bass.

92 Years Young

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Wynton Kelly - Autumn Leaves

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 37:06
Size: 85,3 MB
Art: Front

(4:29)  1. Autumn Leaves (Take 3)
(8:19)  2. Autumn Leaves (Take 1)
(5:51)  3. Chair's Blues
(3:03)  4. Someday My Price Will Come
(3:34)  5. Come Rain Or Come Shine
(5:09)  6. Dear Ann
(6:37)  7. Joe's Avenue

A superb accompanist loved by Miles Davis and Cannonball Adderley, Wynton Kelly was also a distinctive soloist who decades later would be a strong influence on Benny Green. He grew up in Brooklyn and early on played in R&B bands led by Eddie "Cleanhead" Vinson, Hal Singer, and Eddie "Lockjaw" Davis. Kelly, who recorded 14 titles for Blue Note in a trio (1951), worked with Dinah Washington, Dizzy Gillespie, and Lester Young during 1951-1952. After serving in the military, he made a strong impression with Washington (1955-1957), Charles Mingus (1956-1957), and the Dizzy Gillespie big band (1957), but he would be most famous for his stint with Miles Davis (1959-1963), recording such albums with Miles as Kind of Blue, At the Blackhawk, and Someday My Prince Will Come. When he left Davis, Kelly took the rest of the rhythm section (bassist Paul Chambers and drummer Jimmy Cobb) with him to form his trio. The group actually sounded at its best backing Wes Montgomery. Before his early death, Kelly recorded as a leader for Blue Note, Riverside, Vee-Jay, Verve, and Milestone. ~ Scott Yanow http://www.allmusic.com/artist/wynton-kelly-mn0000684253/biography

Personnel:  Piano – Wynton Kelly;   Bass – Paul Chambers (3), Sam Jones;  Drums – Jimmy Cobb

Autumn Leaves

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Miranda Sage - Moon Tiger

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 67:57
Size: 158,1 MB
Art: Front

(4:47)  1. Island Man
(5:19)  2. Close Your Eyes
(3:28)  3. Fly Me to the Moon
(5:18)  4. A Flower Is a Lovesome Thing
(4:21)  5. Full Moon
(4:23)  6. Moon Tiger
(5:20)  7. Moon And Sand
(3:19)  8. I Thought About You
(4:43)  9. You And The Night And The Music
(3:59) 10. Orchids In The Moonlight
(4:33) 11. That's Fall
(5:09) 12. Some Other Time
(3:07) 13. Lullaby
(5:01) 14. A Grove Of Trees
(5:02) 15. Slow Hot Wind

From the cool, free floating beauty of Hugh Fraser and Miranda Sage's collaboration "Island Man" through to the torrid passion of Henry Mancini's "Slow Hot Wind", Moon Tiger provides a perfect vehicle for Miranda's expressive three-octave voice to deliver every emotion from yearning to lust, and every quality from sweet high purity to sultry come-hither worldliness. It is a voice made for capturing hearts. Miranda Sage is English by birth, though she has lived most of her adult life in western Canada. A music lover since early childhood, her musical training includes a backgroung in piano, clarinet, saxophone, lute and guitar. Her vocal training was acquired through the University of Victoria, the Victoria Conservatory of muisic, and various jazz workshops in Canada, the U.S., and Europe. On this solid base, Miranda has built her concept of the voice as an instrument. Following several tours in North America and Europe, she released her first CD, "Standards and Originals in a Jazz Key", in 1997, to wide critical acclaim. Miranda sings regularly in Victoria with the eighteen piece Swiftsure Big Band, and well as with small combos. She has also performed with the Hugh Fraser International big band, the Port Townsend Jazz Festival big band and has appeared several times at the Victoria International Jazz festival. She performed in 2002 at the Isle of Wight Jazz Divas festival and in 2004 at the Mid Argyll Annual Gala in Scotland. Moon Tiger, produced by award winning Rick Kilburn, features Hugh Fraser on piano and trombone, Don Thompson on piano and bass, Campbell Ryga on saxophone, Ken Lister on bass, Dave Robbins on drums, and Jack Duncan on percussion. https://store.cdbaby.com/cd/mirandasage

Jim Wilke of KPLU's Jazz Northwest chose "Moon Tiger" as his 8th favourite pick from the northwest for 2003.

"A savvy mix of tunes, tempos, and ensembles sung with clear and effortless delivery by Miranda Sage" Neil Ritchie, CBC Radio

"Sage's horn-like phrasing is a delight on upbeat Jobim-penned sambas and her own tricky originals." Joseph Blake, Times Colonist

"Sage unleashed a voice of thrilling flexibilty and range making jazz singing sound like the easiest thing in the world" Drew Snyder, Monday Magazine

Personnel: Miranda Sage (vocals); Campbell Ryga (saxophone); Hugh Fraser (trombone, piano); Don Thompson Quartet (piano); Dave Robbins (drums); Jack Duncan (percussion).

Moon Tiger

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Pamela Williams - The Perfect Love

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 47:21
Size: 110,7 MB
Art: Front

(3:59)  1. Afterglow
(4:09)  2. Just As We Are
(4:48)  3. Unconditional
(3:31)  4. Got Me Wrapped Around Your Finger
(6:03)  5. The Perfect Love
(5:13)  6. Destined To Be
(3:57)  7. Twin Souls
(4:51)  8. Sexy Mf
(5:31)  9. A Bee Charmer
(5:13) 10. Whipped

2003 was a great year for female sax players, with Candy Dulfer returning after a four-year hiatus, Mindi Abair revitalizing smooth jazz with It Just Happens That Way, and The Perfect Love, a sensual funk label debut by one of the more underrated performers on the smooth groove scene, Pamela Williams. Shanachie Entertainment is known for its picture-perfect radio hits, and Williams kindly obliges her label with some instantly kick-back and likeable tracks right off the bat. Yet as nice, catchy, and easy grooving as "After Glow" and "Just As We Are" are, there's a sense that Williams is holding back just a bit. Ditto the kindly, sweet-talking "Unconditional," which is one of three songs written by labelmate saxman Kim Waters and very much in tune with his sweet, smoky style. Williams eventually lets loose, however, and the heavier grooves of "Got Me Wrapped Around Your Finger" stimulate some more aggressive playing, backed by some snazzy horns and a dreamy retro vibe. Even more fun but probably too intense for radio is her slamming, slightly bluesy crunch-funk take on Prince's "Sexy M.F." Waters gives her a quick-rolling challenge on the closer, "Whipped," which she more than accepts with constantly powerful bursts of energy. The label also cleverly pairs her with another label great, keyboardist Kevin Toney, whose optimistic keys play off Williams' cool perfectly. Overall, it's a perfectly balanced disc, but listeners who are seduced by the cool might find a more perfect love by the fire. ~ Jonathan Widran http://www.allmusic.com/album/the-perfect-love-mw0000599775

Personnel: Pamela Williams (saxophone, soprano saxophone, alto saxophone, keyboards, drum programming); Wayne Bruce, Bernd Schoenhart (guitar); David Mann (saxophone, keyboards, drum programming); Kim Waters (soprano saxophone, alto saxophone, keyboards, synthesizer, drum programming).

The Perfect Love

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John Fedchock - New York Big Band

Styles: Trombone Jazz
Year: 1995
File: MP3@320K/s
Time: 74:51
Size: 174,3 MB
Art: Front

( 7:53)  1. Limehouse Blues
( 7:23)  2. The Grove City Groover
( 5:55)  3. La Parguera
( 4:29)  4. Ruby, My Dear
( 8:58)  5. Blues Du Jour
(11:46)  6. Caravan
( 4:34)  7. Nefertiti
( 5:55)  8. Louie's Cheese Party
( 7:57)  9. Nightshades
( 4:32) 10. My Foolish Heart
( 5:24) 11. Flintstoned

John Fedchock is best-known as a former trombonist and occasional arranger with Woody Herman's orchestra, but the release of this "Reservoir" set should also give him a reputation as an important big-band leader in his own right. Fedchock, who provided arrangements for all 11 selections (six jazz standards and five of his originals), gathered together quite an interesting variety of jazzmen for this date. Included among the personnel are many players who have led sessions of their own, including altoist Jon Gordon, Rick Margitza and Rich Perry on tenors, baritonist Scott Robinson, trumpeter Tim Hagans, and (on three numbers) percussionist Jerry Gonzalez. Fedchock's arrangements give his big band a unified group sound and leave plenty of room for the soloists. Among the highlights are a race through "Limehouse Blues" (which has a torrid tenor-baritone tradeoff by Perry and Robinson), a thoughtful feature for Tim Hagans on "Nefertiti," the heated tenor of Rick Margitza on "Caravan," altoist Mark Vinci's showcase on "My Foolish Heart," and the leader's many colorful trombone solos. This straight-ahead set (which also includes Fedchock's "Blues Du Jour," the calypso feel of "Louie's Cheese Party," and a slightly demented romp on the "Flintstones Theme" that is retitled "Flintstoned") is consistently swinging, enjoyable, and easily recommended. ~ Scott Yanow http://www.allmusic.com/album/new-york-big-band-mw0000183131

Personnel: John Fedchock (trombone); Jon Gordon (soprano saxophone, alto saxophone); Mark Vinci (alto saxophone); Rich Perry, Rick Margitza (tenor saxophone); Scott Robinson (baritone saxophone); Greg Gisbert, Tim Hagans, Barry Ries, Tony Kadleck (trumpet, flugelhorn); George Flynn , Keith O'Quinn, Clark Gayton (trombone); Joel Weiskopf (piano); Dave Ratajczak (drums); Jerry Gonzalez (percussion).

New York Big Band

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Martin Taylor's Spirit of Django - Gypsy

Styles: Guitar Jazz, Gypsy Jazz
Year: 1998
File: MP3@320K/s
Time: 74:28
Size: 171,1 MB
Art: Front

(8:08)  1. Gypsy Medley
(7:20)  2. My Vardo
(4:58)  3. Chicago
(6:07)  4. Chez Fernand
(2:31)  5. Tears
(6:38)  6. Kushti
(5:06)  7. Nuages
(4:57)  8. I Can't Give You Anything But Love
(5:02)  9. Dreaming of You
(7:06) 10. Sweet Sue Just You
(6:34) 11. Musette for a Magpie
(4:19) 12. Chillin' with Oscar
(5:37) 13. Squid Kid

Martin Taylor's first CD of live dates as a leader proves to be very rewarding listening. With his delightful Spirit of Django band, he sticks exclusively to the acoustic guitar throughout the release, giving a new look to pieces either written by Django Reinhardt ("Tears" and "Nuages") or performed by the late Gypsy guitarist ("Chicago" and "Sweet Sue Just You"). But that's not all the opening medley centers around David Grisman's engaging "The Tipsy Gypsy," and there are several strong originals by Taylor as well, including the mellow but upbeat "Chez Fernand." Accordion player Jack Emblow and saxophonist Dave O'Higgins (who is especially compelling on soprano) are also strong soloists who complement Taylor's work; hopefully Taylor will keep this group going in addition to his fine work as a solo performer. ~ Ken Dryden http://www.allmusic.com/album/gypsy-mw0000054375

Personnel:  Accordion – Jack Emblow;  Acoustic Guitar – John Goldie, Martin Taylor;  Bass [Acoustic] – Terry Gregory;  Saxophone – Dave O'Higgins

Gypsy

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