Vijay Iyer - Blood Sutra

Size: 135,6 MB
Time: 58:13
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz
Art: Front

01. Proximity (2:12)
02. Brute Facts (6:10)
03. Habeas Corpus (5:57)
04. Ascent (1:22)
05. When History Sleeps (6:07)
06. Questions Of Agency (5:10)
07. Kinship (6:09)
08. Stigmatism (4:02)
09. That Much Music (2:31)
10. Imagined Nations (6:10)
11. Because Of Guns (7:42)
12. Desiring (4:36)

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. ~by Dan McClenaghan

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

Blood Sutra

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Big Miller & Tommy Banks - Legacy

Size: 99,9 MB
Time: 36:48
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Hey There (2:34)
02. When Sunny Gets Blue (3:30)
03. Bye Bye Blackbird (4:30)
04. Without A Song (5:35)
05. If I Ruled The World (5:14)
06. But Beautiful (4:07)
07. All Of Me (2:36)
08. Since I Fell For You (5:17)
09. We'll Be Together Again (3:21)

The Edmonton Jazz Society and the Yardbird Suite are pleased to host the official release of a new duet album featuring the late and legendary jazz singer, Clarence “Big” Miller and Canadian jazz icon, Tommy Banks on piano.

The new release, Legacy, was produced by Edmonton native George Blondheim. Blondheim is recognized internationally as a multi-award winning composer, producer and pianist.

The nine never-before heard songs were originally recorded in August 1989 at Edmonton’s Beta Sound Recorders. With Big’s untimely passing in 1992, the recordings remained stored away on a hard drive. Now, almost 30 years later , Legacy is being released by Chronograph Records in conjunction with the Yardbird Suite’s 60th Anniversary celebrations, with proceeds in support of the educational programs of the Edmonton Jazz Society and Yardbird Suite.

Those who remember Big will now be able to hear that terrific voice, warm personality and unique delivery once again. A new audience of jazz lovers will appreciate his beautiful tone and timeless style. Big and Tommy began working together in the 1970s and travelled across Canada performing in many musical settings including duo concerts and CBC broadcasts. This rare moment in studio was intended as a demo session working toward an album, but fate intervened and Big and Tommy were never able to make the final recording Blondheim envisioned.

About Big Miller (1922-1992):
Clarence “Big” Miller was a jazz musician, blues singer, trombonist, and educator born in Sioux City, Iowa. By 1960, Big Miller had sung with the Jay McShann and Duke Ellington orchestras and recorded with Bob Brookmeyer, Rex Stewart and Jon Hendricks. Miller made his Canadian debut in 1962 and took up residence in Vancouver in 1967 before settling in Edmonton by 1970 where he went on to make a significant impact on the musical and cultural scene. He subsequently led a variety of small jazz and blues bands in western Canada but also toured nationally with Phil Nimmons, and travelled abroad as a soloist. He taught at the Banff Centre and Grant MacEwan College, and was awarded an honorary doctorate by Athabasca University in 1985. The subject of the National Film Board documentary Big and the Blues (1980), Miller recorded several albums during his Canadian years, including the JUNO Award-winning Jazz Canada Montreux with the Tommy Banks Orchestra (1978), Live from Calgary (1982) and Live at Athabasca College (1989). Big Miller with Tommy Banks' Big Band was released posthumously in 1997. He touched many lives with his beautiful voice, his energy and most of all, his love and respect for his fellow human beings. He was an absolute original soul and talent.

Legacy

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Lesley Lambert - You Don't Know Me

Size: 103,6 MB
Time: 44:03
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Blues Vocals
Art: Front

01. At Last (4:37)
02. Blue Moon (3:27)
03. I Love Paris (3:56)
04. I'd Go Back Home (4:41)
05. Isn't This A Lovely Day (3:48)
06. I've Got My Love To Keep Me Warm (4:12)
07. Lover Come Back To Me (3:40)
08. Lover Man (4:51)
09. Sposin' (4:02)
10. Thou Swell (2:45)
11. You Don't Know Me (3:58)

Australian Jazz Singer.

You Don't Know Me

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Thad Jones - Detroit-New York Junction

Bitrate: MP3@320K/s
Time: 34:17
Size: 78.5 MB
Styles: Trumpet jazz
Year: 1956
Art: Front

[ 6:44] 1. Blue Room
[ 5:29] 2. Tariff
[ 2:48] 3. Little Girl Blue
[10:28] 4. Scratch
[ 8:46] 5. Zec

Before he became famous as the leader of a big band, Thad Jones was a trumpet player, and a damn good one. In 1956, Jones led his first jazz group. It was a small sextet—unlike his later, more celebrated ensemble, co-led by Mel Lewis. This short album, which chronicles that session, has only five songs and runs just 34 minutes. There are no alternate takes.

It's a pleasant album, but not a great one. There is nothing innovative here, or particularly memorable. Jones has a nice tone and decent chops, but he won't make you forget Dizzy Gillespie or Miles Davis, at least not on this CD. In fact, while listening to the first two songs, you might forget that Jones is the leader of this group. On "Blue Room" (a Rodger-and-Hart tune) and "Tariff" (a Jones original), the leader let's everyone else take the early solos. So we hear guitarist Kenny Burrell, saxman Billy Mitchell and pianist Tommy Flanagan before we ever hear Jones play alone. All the more confounding, Burrell, Mitchell and Flanagan sound more interesting. The most unusual piece is also the best. "Little Girl," another Rodgers-and-Hart song, is utter simplicity, and very simply arranged: just guitar and trumpet, with bass lurking somewhere deep in the background. It's an unassuming ballad, not especially sentimental or soulful. But it's fascinating in its simplicity. At just under three minutes, it's the shortest cut on the CD. Too bad. Two more Jones originals—the 10-minute "Scratch" and the 8-minute "Zec"—finish the disc. Both are upbeat, the latter boppish, and Jones properly takes the lead and plays interesting solos. And then it's over, too soon.

Jones recorded two more sessions for Blue Note, both better than this first one. Detroit-New York Junction (named for Jones' hometown and adopted new town), was just a warm-up.

Detroit-New York Junction

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Lara Luppi, Joe Pisto - Shapes

Bitrate: MP3@320K/s
Time: 34:53
Size: 79.9 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[3:49] 1. The Siren's Moon
[4:11] 2. Pastime Paradise
[4:12] 3. For What It's Worth
[4:53] 4. Shape Of My Heart
[3:50] 5. I'm Crazy
[3:51] 6. This Masguerade
[2:53] 7. Call Me
[3:41] 8. Ain't No Sunshine
[3:28] 9. Talk To Your Daughter

Lara Luppi: "...I sing jazz, pop, gospel . I share different artistic projects with other musicians giving my original and personal contribution in arranging, improvising, composing the music and in editing a show. I work thanks to a constant inspiration given to me mostly by the fabolous artists I work and has worked with. My thankfulness and joy goes to Lucio Bruni, Rev. Lee Brown and all the Freedom Family Gospel Choir, The Jumpin’ Shoes, Sandra Cartolari, Joe Pisto, The Blue Midnight Orchestra alltogether, Stefano Cappa and Lucio Caliendo, Marco Remondini, Andrea Minelli, God’s Angels, Oracle’s King Blues Band, Bruno Marini, Sheila Jordan and all the great jazz musicians I met through all these years..."

I've been hosted with my bands at : Jvc Festival Torino.; “Jazz’n’it”, Vignola; Barcollando nel jazz E.J.N; Musincanto Torino; Albinea Jazz Festival ; Ivrea Jazz Festival; Villa Celimontana Jazz and Image, Roma; Ferrara In Jazz al Torrione Jazz Club; New Orleans Jazz Heritage, Ferrara; Bolzano Jazz and Other Festival; Bologna Jazz Festival at Cantina Bentivoglio; Rapperswil Blues and Jazz Festival (Ch)..."

Joe Pisto: Joe Pisto stands out for his exceptional way of using his voice and guitar. He has a unique personal style, an expressive and versatile voice for jazz, soul and experimental vocals. His command of rhythm, phrasing, scat and dynamics make him more like a virtuoso jazz instrumentalist than a simple vocalist. He has won many international awards, collalborated with international musicians like: Eumir Deodato, Jeff Berlin, Paolo Fresu, Fabrizio Bosso, Omar Lye Fook, Andrea Bocelli, Dario Deidda, Ross Stanley, Marco Tamburini, Roberto Tarenzi, Michele Papadia, Mimmo Campanale, Aldo Vigorito, Alfonso Deidda, Stef Burns, Brandon Allen, Quentin Collins, Fausto Beccalossi, Hiram Bullock, Jim Mullen, ecc.

Shapes

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Pat Martino - Impressions

Bitrate: MP3@320K/s
Time: 49:22
Size: 113.0 MB
Styles: Guitar jazz
Year: 2005
Art: Front

[4:37] 1. Impressions
[5:25] 2. Willow Weep For Me
[5:22] 3. Along Came Betty
[4:48] 4. Days Of Wine And Roses
[4:33] 5. The Visit
[7:47] 6. I Remember Clifford
[6:08] 7. Willow
[4:57] 8. Lament
[5:39] 9. Road Song

Impressions collects tracks from four of guitarist Pat Martino's best Muse albums from the '70s, including 1974's Consciousness, 1975's Footprints, 1976's We'll Be Together Again, and 1977's Exit. From Martino's most well-known and perhaps most creative period, these albums found the technically deft musician tackling everything from American popular song to jazz standards and his own superb original compositions. Completists will most likely want to seek out the original albums, but as an introduction to Martino's work, Impressions is as good a place to start as any. ~Matt Collar

Impressions

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Ritchie Valens - The Best Of

Bitrate: MP3@320K/s
Time: 35:02
Size: 80.2 MB
Styles: Pop/Rock n Roll
Year: 1986/2006
Art: Front

[2:08] 1. La Bamba
[1:46] 2. Bluebirds Over The Mountain
[2:18] 3. In A Turkish Town
[1:50] 4. Ooh! My Head
[2:30] 5. Paddi-Wack Song
[2:23] 6. Stay Beside Me
[3:01] 7. Malagueña
[2:14] 8. Framed
[2:04] 9. Come On, Let's Go
[2:29] 10. Donna
[2:01] 11. Fast Freight
[1:57] 12. We Belong Together
[1:53] 13. That's My Little Susie
[1:54] 14. Hurry Up
[2:23] 15. Little Girl
[2:04] 16. Hi-Tone

Richard Steven Valenzuela (May 13, 1941 – February 3, 1959), known as Ritchie Valens, was an American singer, songwriter and guitarist. A rock and roll pioneer and a forefather of the Chicano rock movement, Valens' recording career lasted only eight months. During this time, he had several hits, most notably "La Bamba", which was originally a Mexican folk song. Valens transformed the song into one with a rock rhythm and beat, and it became a hit in 1958, making Valens a pioneer of the Spanish-speaking rock and roll movement.

The Best Of

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June Christy - A Passion For Jazz Vol 49

Bitrate: MP3@320K/s
Time: 62:51
Size: 143.9 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[2:45] 1. If I Should Lose You
[2:43] 2. It’s Been A Long, Long Time
[3:02] 3. I Never Thought I’d Sing The Blues
[3:49] 4. On The Sunny Side Of The Street
[2:38] 5. Across The Valley From Alamo
[3:03] 6. Little Grass Skirt
[2:47] 7. Day Dream
[2:42] 8. Tampico
[2:40] 9. No Baby, Nobody But You
[3:00] 10. I’ll Bet You Do
[2:48] 11. Skip Rope
[3:05] 12. Willow Weep For Me
[3:02] 13. Ain’t No Misery In Me
[2:45] 14. I Let A Song Go Out Of My Heart
[2:26] 15. Are You Livin’ Old Man
[3:00] 16. I Got The Sun In The Morning
[2:38] 17. Just A Sittin’ And A Rockin’
[2:22] 18. Ride On
[2:15] 19. That’s The Stuff You Gotta Watch
[3:35] 20. Easy Street
[3:01] 21. Come Rain Or Come Shine
[2:34] 22. Shoo Fly Pie And Apple Pan Dowdy

Though she was the epitome of the vocal cool movement of the 1950s, June Christy was a warm, chipper vocalist able to stretch out her impressive voice on bouncy swing tunes and set herself apart from other vocalists with her deceptively simple enunciation. From her time in Stan Kenton's Orchestra, she inherited a focus on brassy swing from arranger friends like Pete Rugolo. Rugolo would become a consistent companion far into her solo days, too, arranging most of her LPs and balancing her gymnastic vocal abilities with a series of attentive charts.

Born Shirley Luster in Springfield, IL, she began singing early on and appeared with a local society band during high school. She moved to Chicago in the early '40s, changed her name to Sharon Leslie, and sang with a group led by Boyd Raeburn. In 1945, after hearing that Anita O'Day had just left Stan Kenton's Orchestra, she auditioned for the role and got it early that year. Despite an early resemblance (physically and vocally) to O'Day, the singer -- renamed June Christy -- soon found her own style: a warm, chipper voice that stretched out beautifully and enlivened Kenton's crossover novelties ("Shoo Fly Pie and Apple Pan Dowdy," the million-selling "Tampico") as well as the leader's intricately arranged standards ("How High the Moon"). As she became more and more popular within the Kenton band, arranger Pete Rugolo began writing charts with her style especially in mind. After the Kenton orchestra broke up in 1948, Christy worked the nightclub circuit for awhile before reuniting with Kenton for his 1950 Innovations in Modern Music Orchestra, a very modern 40-piece group that toured America. She had already debuted as a solo act the year before, recording for Capitol with a group led by her husband, Kenton tenor saxophonist Bob Cooper. ~John Bush

A Passion For Jazz Vol 49

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Lluis Coloma - Lonely Avenue

Bitrate: MP3@320K/s
Time: 61:35
Size: 141.0 MB
Styles: Piano jazz
Year: 2006
Art: Front

[4:06] 1. Goin' To Malaysia
[3:46] 2. Rolling Left Hand
[3:44] 3. Lonely Avenue
[6:06] 4. The Ball
[4:25] 5. The Spirit Of The Blues
[5:15] 6. Early Days
[4:25] 7. Magda
[3:13] 8. Jumping Fives
[5:30] 9. New Blues
[4:56] 10. Slow Sunset Blues
[4:17] 11. Yancey Meets Booker
[4:13] 12. Tea At Dawn (Part 1)
[7:31] 13. Tea At Dawn (Part 2)

Lluis Coloma (p, org), Manolo German (b), Marc Ruiz (d), Pep Pascual (as), Dani Perez (ts), Natxo Romero (ts), Joan Chamorro (bs), R.M. Gera (g), Manuel Quintana (conga). Recorded at Rosazul Studio, Barcelona, June 15th to 18th, 2006.

From his beginning this outstanding Catalan pianist has been developing a personal touch and an incredible left hand offering powerful performances full of virtuosity and creativity, where he breaks up the piano with hot and tasty organ Hammond B3 tunes. Being one of the most requested piano players in Spain and considered an specialist, he has lectured on the history of Blues and Boogie Woogie piano, being one of the few pianists in Spain able to recreate the primitive styles of this genre.

Lluís Coloma plays his own compositions in a performance full of power, dynamics and honesty. His music evokes the New Orleans pianists sound going trough Barrelhouse style to Chicago, cradle of electric Blues. In his new album, Lluis Colomas trio is accompanied by four saxophonists, a guitarist and a percussionist. His music is a pure boogie-woogie jazz.

Lonely Avenue

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Howard Alden & Ken Peplowski - Pow - Wow

Styles: Guitar, Saxophone And Clarinet Jazz
Year: 2007
File: MP3@320K/s
Time: 61:25
Size: 147,2 MB
Art: Front

(4:02)  1. Pow Wow
(6:42)  2. Dream Dancing
(6:27)  3. Did I Remember
(5:37)  4. Very Early
(2:39)  5. Who Knows
(5:39)  6. After All
(5:56)  7. Bossango
(3:37)  8. I See Your Face Before Me
(3:02)  9. Tempus Fugit
(1:56) 10. The Land of the Loon
(5:24) 11. The Things We Did Last Summer
(6:11) 12. Panama
(4:08) 13. Lucky to Be Me

Whether you were fortunate enough or not to have caught Howard Alden and Ken Peplowski's 2007 reunion art New York's Bargemusic, Pow-Wow will do very nicely to dig these longtime musical good companions. Much of the Barge evening drew upon Pow-Wow, offering a perfect, quietly spectacular skyline setting for these two, both who eschew pyrotechnics. Their playing is exciting enough in its simplicity. Hearing their variety, range and richness can make it seem like listening to more than just two players. The title track (guitarist Joe Puma's tune, based on the changes of Ray Noble's "Cherokee ) starts the CD off in such jumping synchronicity that Alden's guitar and Peplowski's tenor sax seem to be a multi-voiced single instrument. Another high point, "Did I Remember?, is a gem which Billie Holiday sang on her first recording date. For this nostalgic tune Peplowski switches over to clarinet, and together he and Alden conclude it with a burst of especially exhilarating improvisation. On Duke Ellington's rarely heard "Who Knows, which is somewhat bop-ish in flavor, Peplowski is again on clarinet as he trades playful licks with Alden. It's followed by "After All, a thoughtful Billy Strayhorn beauty, on which the warmth of Peplowski's clarinet is ever so gently supported by Alden. In playing a set that refreshingly mixes near-classics and lesser known nuggets, they cast a spell as emotionally strong as it is thoroughly modern. ~ Andrew Velez https://www.allaboutjazz.com/pow-wow-howard-alden-arbors-records-review-by-andrew-velez.php
 

Personnel:  Howard Alden: guitar;  Ken Peplowski: tenor sax, clarinet.

Pow - Wow

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Dianne Reeves - Music For Lovers

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 53:54
Size: 123,5 MB
Art: Front

(6:33)  1. My Funny Valentine
(7:29)  2. Come In
(5:02)  3. That Day
(5:21)  4. Suzanne
(6:18)  5. You tought my heart to sing
(5:37)  6. Never said (chan's song)
(6:24)  7. Speak low
(5:47)  8. The twelfth of never
(5:19)  9. In your eyes

The Music for Lovers series from EMI and Blue Note spotlights the balladic nature and romantic side of the artists who have recorded for its associated labels. Dianne Reeves performs in a variety of settings here, singing standards from the vocal jazz world as well as R&B and art rock. Beginning with an excellent 1982 reading of "My Funny Valentine" with Billy Childs, the volume picks up two Reeves performances from the late '80s (including one with Herbie Hancock), several from the late '90s (including a version of Leonard Cohen's "Suzanne"), and three from 2000 (including Reeves' own "Come In" with George Duke). ~ John Bush http://www.allmusic.com/album/music-for-lovers-mw0000555782

Personnel: Dianne Reeves (vocals); Nick Kirgo, Paul Jackson, Jr. (guitar); Bob Sheppard (reeds); Kenny Garrett (soprano saxophone); Oscar Brashear (trumpet, flugelhorn); Otmaro Ruíz, Billy Childs, Billy Childs Trio (piano, synthesizer); Jorge Del Barrio (Synclavier); Billy Carroll (electric bass); Gregory Hutchinson, Marvin "Smitty" Smith, Leon "Ndugu" Chancler, Rocky Bryant, Terri Lyne Carrington, Brian Blade, Joe Heredia (drums); Manolo Badrena, Munyungo Jackson, Paulinho Da Costa (percussion); Romero Lubambo (guitar, acoustic guitar); Kevin Eubanks (acoustic guitar); George Duke (piano, keyboards); Mulgrew Miller (piano); Herbie Hancock (keyboards).

Music For Lovers

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James Morrison - Snappy Doo

Styles: Trumpet And Trombone Jazz
Year: 1990
File: MP3@320K/s
Time: 52:49
Size: 121,4 MB
Art: Front

(6:42)  1. You Are My Sunshine
(4:17)  2. Le Belleclaire Blues
(5:12)  3. But Beautiful
(3:53)  4. Chega De Saudade (No More Blues)
(3:25)  5. A Brush With Bunj
(4:41)  6. The Shadow of Your Smile
(2:44)  7. Snappy Doo
(5:58)  8. Autumn Leaves
(6:39)  9. The Old Rugged Cross
(4:42) 10. Jitterbug Waltz
(4:31) 11. Zander

This is an impressive outing. James Morrison, who is equally skilled on trumpet and trombone (exhibiting wide ranges, a skill at improvising in a personal bop style, and a witty sense of humor), creates his own big band on six selections, augmenting his main axes by overdubbing on euphonium, alto, tenor, baritone, and piano while joined by guitarist Herb Ellis, bassist Ray Brown, and drummer Jeff Hamilton. In addition, Morrison's arrangement of "Le Belleclarie Blues" shows off his writing talents. The wide variety of music (mixing together standards and originals) makes for a very colorful set, and Morrison displays his own personality on each of his many axes. Working within the tradition, James Morrison is heard finding his own unique niche. ~ Scott Yanow http://www.allmusic.com/album/snappy-doo-mw0000310712

Personnel:  Trumpet, Trombone, Saxophone, Piano, Euphonium – James Morrison;  Bass – Ray Brown;  Drums – Jeff Hamilton;  Guitar – Herb Ellis

Snappy Doo

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'Papa' John DeFrancesco - A Philadelphia Story

Styles: Jazz, Jazz Funk
Year: 2011
File: MP3@320K/s
Time: 51:32
Size: 128,6 MB
Art: Front

(7:09)  1. Papa Was A Rolling Stone
(6:03)  2. Strange Brew
(7:24)  3. By The Time I Get To Phoenix
(3:19)  4. The Thang
(6:42)  5. It's Your Thing
(5:14)  6. You Are My Sunshine
(4:56)  7. Dr. Mike
(5:31)  8. Blues In The Closet
(5:11)  9. A Philadelphia Story

In the 1990s, Papa John DeFrancesco revived his career after a long hiatus to oversee the musical development of his son Joey. At that time he began not only playing in public again but recording for Highnote and Savant, too. That said, he’s been known to take long breaks: six years off between 1995 and 2001, and, after recording regularly between then and 2006, another half decade. A Philadelphia Story marks his return. The time off hasn’t blunted Papa John's chops, however. Despite the fact that he lives in Arizona these days, DeFrancesco’s music is pure, gritty Philly soul-jazz. Here he’s joined by his other son, the guitar-slinging John Jr., and drummer Glenn Ferracone. The program is a smoking collection of soul, funk, jazz, and standards with a pair of originals tossed in. The set kicks off with a finger-popping reading of “Papa Was a Rolling Stone.” John Jr.’s razor-sharp funk creates the groove while Papa comps and adds smoldering undertones to Ferracone’s stellar breaks (which are ever-present on the album). Son Joey makes one of two guest appearances with a boppish trumpet solo to close it out. A spine-slipping gutbucket version of Cream’s “Strange Brew” follows. It’s in-the-pocket, bluesed-out soul-jazz, with stinging though economical guitar fills. Papa’s solo is strong, and full of twists and turns. Joey returns on a lovely, elegant, and understated reading of “By the Time I Get to Phoenix,” the most lyrical thing here. Lou Donaldson's hard bopping “The Thang” gets fine treatment, with a twinned guitar/B-3 head; it’s brief, yet features rhythmically taut arpeggios by John Jr. and a ripping solo by Papa. The Isley Brothers' “It’s Your Thing” really shows off Papa’s own deep soul-jazz chops; he turns this one inside out and follows it with a complete harmonic re-visioning of “You Are My Sunshine.” John Jr. does his best Wes Montgomery as he and Papa trade fours on the tune. Saxophonist Joe Fortunato guests on Oscar Pettiford's “Blues in the Closet,” a straight-up hard bop blues. The closing title track moves ever deeper into that terrain. Papa’s organ solo shines brightly in the tune’s moody darkness and is a real highlight on the set. Any way you cut it, A Philadelphia Story is smoking B-3 jazz with kick, swagger, and funky butt grooves; it marks the welcome return of a master jazzman. ~ Thom Jurek  http://www.allmusic.com/album/a-philadelphia-story-mw0002105394

Personnel: Papa John DeFrancesco (Hammond b-3 organ); John Defrancesco Jr. (guitar); Glenn Ferracone (drums).

A Philadelphia Story

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Bob Seger & The Silver Bullet Band - Against The Wind

Bitrate: MP3@320K/s
Time: 40:18
Size: 92.3 MB
Styles: Album Rock
Year: 1980/2016
Art: Front

[4:02] 1. The Horizontal Bop
[3:59] 2. You'll Accomp'ny Me
[3:51] 3. Her Strut
[3:42] 4. No Man's Land
[4:16] 5. Long Twin Silver Line
[5:32] 6. Against The Wind
[4:02] 7. Good For Me
[2:51] 8. Betty Lou's Gettin' Out Tonight
[3:31] 9. Fire Lake
[4:26] 10. Shinin' Brightly

Though there are still some traces of the confessionals that underpinned Beautiful Loser through Stranger in Town, Against the Wind finds Bob Seger turning toward craft. Perhaps he had to, since Against the Wind arrived after three blockbuster albums and never-ending tours. Even so, this record winds up not feeling as immediate or soulful as its predecessors, especially since it begins with a tossed-off rocker called "The Horizontal Bop," possibly his most careless tune since "Noah." It's fun, but once it's done, the record really starts to kick into high gear with "You'll Accomp'ny Me," a ballad the equal of anything on its two predecessors. Throughout Against the Wind, Seger winds up performing better on the ballads than the rockers, which, while good, tend to sound a little formulaic. Still, Seger's formula is good and if "Her Strut" and "Betty Lou's Gettin' out Tonight" would have been second stringers on Stranger in Town, they offer a nice balance here, and the rest of the record alternates between similarly well-constructed rockers and introspective ballads like "Against the Wind" and "Fire Lake." Compared to its predecessors, this does feel a little weak, but compared with its peers, it's a strong, varied heartland rock album that finds Seger at a near peak. ~Stephen Thomas Erlewine

Against The Wind

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Ginger Blues - Berlin Nights

Bitrate: MP3@320K/s
Time: 44:24
Size: 101.7 MB
Styles: Jazz-blues vocals
Year: 2017
Art: Front

[3:09] 1. Shake That Thing
[3:24] 2. I'll Drown In My Own Town
[4:32] 3. Fine And Mellow
[3:38] 4. My Baby Upsets Me
[5:18] 5. Tennessee Whisky I'd Rather Go Blind
[3:12] 6. Fishing Blues
[3:29] 7. God Bless The Child
[3:01] 8. Roll 'em Pete
[2:35] 9. Up Above My Head
[3:20] 10. In The Dark
[5:43] 11. Voodoo Woman
[2:58] 12. Nightlife

Jan Hirte (guitar, vocals); Jessie Gordon (vocals, ukulele); Dorian Gollis (double bass); Matthias Falkenau (piano, keyboards, Hammond); Stefano Ronchi (guest vocals – #5,9).

You can imagine what you want under Berlin nights. From the very first moment on, Ginger Blues' "Berlin Nights" is undoubtedly one of the musical events you will not forget. What takes place in just under three-quarters of an hour - in the truest sense of the word - is music from the top shelf. Jan Hirte and Jessie Gordon are also accompanied by an excellent band. We find Dorian Gollis (contrabass) and Matthias Falkenau (piano, keyboards and Hammond) as well as a guest of the Italian Stefano Ronchi, who was convincing with his album I'm Ready. Some readers will think: No drums? Right! But you do not miss it. (Translated from German.)

Berlin Nights

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Howard Levy's Acoustic Express - Time Capsules

Bitrate: MP3@320K/s

Time: 55:53

Size: 127.9 MB

Styles: Jazz/blues harmonica

Year: 2010

Art: Front

[4:00] 1. The Sidewalk Blues

[4:50] 2. Bei Mir Bist Du Schoen

[5:12] 3. Nuages

[7:06] 4. Jovano Jovanke

[5:48] 5. Kind-Hearted Woman

[4:41] 6. I Felafel Blues

[5:40] 7. Lay Lady Lay

[3:19] 8. Oh Lady Be Good

[6:21] 9. A Voz Doce

[3:48] 10. Karlov's Gankino

[5:04] 11. In My Life

Multiple Grammy- Award Winner Howard Levy is an acknowledged master of the diatonic harmonica, a superb pianist, innovative composer, recording artist, bandleader, teacher, producer, and Chicago area resident. His musical travels have taken him all over the geographical world and the musical map. Equally at home in Jazz, Classical music, Rock, Folk, Latin, and World Music, he brings a fresh lyrical approach to whatever he plays. This has made him a favorite with audiences worldwide, and a recording artist sought after by the likes of Kenny Loggins, Dolly Parton, Paquito D’Rivera, Styx, Donald Fagen, and Paul Simon. As a sideman, Howard has appeared on hundreds of CDs and played on many movie soundtracks.

He is perhaps best known for the four CD’s he recorded with Bela Fleck and The Flecktones, a unique band that set the musical world on its ear back in the early 1990’s. He got back together with the band in 2010 and recorded the CD Rocket Science. They toured extensively in 2011-2012, and Howard won a Grammy for Best Instrumental Composition for “Life in Eleven”, which he wrote with Bela Fleck.

Taking its shape from the famous acoustic swing bands featuring Django Reinhardt and Stephane Grappelli, this quartet features Howard on harmonica with two guitarists: Chris Siebold and Pat Fleming, and Larry Kohut on bass. It’s all Acoustic- no amps, sometimes no monitor speakers or PA.The Players and Their Instruments Pat and Chris both use National Steel or Dobro-type guitars with steel resonators embedded in the top.Together, the two guitarists achieve a unique sonic blend. Larry (one of the most in-demand bassists in Chicago who tours with artists like Kenny Werner, Lynne Arriale, and Vinnie Colaiuta) plays acoustic bass. Howard, of course, plays harmonica, piano and occasional hand percussion.The Music Stylistically, the music ranges from early Jazz and swing tunes like “Nuages”, “Lady be Good”, and Jelly Roll Morton’s “Sidewalk Blues”, through Delta Blues, Beatles and Dylan tunes, Eastern European and Middle Eastern music, Yiddish Songs, Bluegrass, Brasilian music- no stylistic limits, but always unity of sound. There are some original compositions as well, and all four musicians are featured as soloists

Time Capsules

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Charlie Barnet - Giants Of The Big Band Era

Styles: Big Band, Swing
Year: 1990
File: MP3@320K/s
Time: 33:52
Size: 79,8 MB
Art: Front

(2:57)  1. East Side West Side
(3:25)  2. Cherokee
(2:25)  3. Pomton Turnpike
(2:41)  4. Volga Boatmen
(2:46)  5. Castle of Dreams
(3:25)  6. Good for Nothing
(3:21)  7. Barcarolle
(2:13)  8. All I Desire
(2:33)  9. Busy as a Bee
(3:04) 10. Skyliner
(2:56) 11. I Can't Remember to Forget
(2:02) 12. Uptown Blues

Charlie Barnet was unusual in several ways. One of the few jazzmen to be born a millionaire, Barnet was a bit of a playboy throughout his life, ending up with a countless number of ex-wives and anecdotes. He was one of the few white big band leaders of the swing era to openly embrace the music of Duke Ellington (he also greatly admired Count Basie). Barnet was a pioneer in leading integrated bands (as early as 1935). And, although chiefly a tenor saxophonist (where he developed an original sound out of the style of Coleman Hawkins), Barnet was an effective emulator of Johnny Hodges on alto in addition to being virtually the only soprano player (other than Sidney Bechet) in the 1930s and '40s. And yet Charlie Barnet was only significant in jazz for about a decade (1939-1949). Although his family wanted him to be a lawyer, he was a professional musician by the time he was 16 and ironically in his career made more money than he would have in business. Barnet arrived in New York in 1932 and started leading bands on records the following year, but his career was quite erratic until 1939. Many of Barnet's early records are worthy but some are quite commercial as he attempted to find a niche. Best is a sideman appearance on a 1934 Red Norvo date that also includes Artie Shaw and Teddy Wilson. In 1939, with the hit recording of "Cherokee" and a very successful run at the Famous Door in New York, Charlie Barnet soon became a household name. In addition to the fine trumpeter Bobby Burnet (who soloed on many of Barnet's Bluebird records), such sidemen as guitarist Bus Etri; drummer Cliff Leeman; singers Lena Horne, Francis Wayne, and Kay Starr; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and even trumpeter Roy Eldridge spent time with Barnet's bands. Although at the height of his popularity during 1939-1942 (when his orchestra could often play a close imitation of Ellington's), Barnet's recordings for Decca during 1942-1946 were also of great interest with "Skyliner" being a best-seller. By 1947 Barnet was starting to look toward bop. Clark Terry was his star trumpeter that year, and in 1949 his screaming trumpet section included Maynard Ferguson, Doc Severinsen, Rolf Ericson, and Ray Wetzel. Barnet, however, soon lost interest and near the end of 1949 he broke up his band. Semi-retired throughout the remainder of his life, Charlie Barnet occasionally led swing-oriented big bands during short tours and appearances, making his last recording in 1966. ~ Scott Yanow https://itunes.apple.com/kz/artist/charlie-barnet/id269417

Giants Of The Big Band Era

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Harcsa Veronika - Speak Low

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 46:02
Size: 105,8 MB
Art: Front

(3:49)  1. Whisper Not
(5:32)  2. The Look Of Love
(4:26)  3. I Put A Spell On You
(3:50)  4. Speak Low
(4:19)  5. Don't Let Me Be Misunderstood
(4:27)  6. What's New
(2:58)  7. After You've Gone
(4:24)  8. Parole Parole
(3:15)  9. Lullaby To An Anxious Child
(3:10) 10. All Blues
(2:04) 11. Nature Boy
(3:43) 12. La Belle Damme Sans Regrets

She started university at Budapest University of Technology and Economics, but graduated from the Liszt Academy of Music in Budapest in 2008, and got her Master degree in 2014 at the Royal Conservatory of Brussels. Her current main project is a duo with guitar player Bálint Gyémánt. Their second duo album Tell Her was released on Traumton Records in February 2017 to a critical acclaim.  Veronika founded her first jazz band in 2005. Between 2006 and 2011 the quartet released four albums, two of which reached the top of the vocal jazz charts at Tower Records, Japan. Besides her jazz career, she gained success in the Hungarian alternative music scene, collaborating with the Erik Sumo Band and the Pannonia Allstars Ska Orchestra. Being a uniquely versatile artist, she also featured two albums of the experimental electronic trio Bin-Jip as well as a musical and literary project based on works by the Hungarian avant-garde poet Lajos Kassák. She also won the award of Budapest Fringe Festival in 2007 in the category of "The best voice of Budapest Fringe". In 2014 she became permanent artist in residence at the Valley of Arts Festival in Hungary, where she is responsible for the jazz program of the cultic ten days festival. In 2014-15 Veronika Harcsa ran a monthly concert series in Berlin, inviting guests from the local scene. Musicians such as David Friedman, Julia Hülsmann, Samuel Blaser or David Helbock accepted her invitation. The duo with Bálint Gyémánt was selected to showcase at the Jazzahead! 2015 European Jazz Meeting. Harcsa has performed at festivals and clubs in over 25 countries worldwide. She worked together with Erik Truffaz, Enrico Pieranunzi, Kris Defoort, Nicola Conte, the Franz Liszt Chamber Orchestra, Concerto Budapest and many others. https://en.wikipedia.org/wiki/Veronika_Harcsa

Speak Low

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Billy Drummond Quartet - The Gift

Styles: Jazz, Post Bop 
Year: 1994
File: MP3@320K/s
Time: 61:26
Size: 140,8 MB
Art: Front

( 5:04)  1. Car Tunes
( 7:39)  2. The Common Law
( 8:00)  3. Ode To Angela
( 6:30)  4. Apex
( 7:31)  5. The Gift
( 7:47)  6. Garoyles
(12:22)  7. Dear Old Chicago
( 6:31)  8. Devil May Care

Born 19 June 1959, Newport News, Virginia, USA. Drummond began playing drums at the age of four, following the example of his drummer father. He played in high school and local bands and thanks to hearing his father’s record collection began taking an interest in the masters of modern jazz. In his teens he attracted attention in New York and became one of several young musicians recorded by Blue Note Records in their series of bands named Out Of The Blue. He became a member of Horace Silver’s band, thereafter touring and sometimes recording with artists including Sonny Rollins, Pat Metheny, J.J. Johnson, Joe Henderson, Freddie Hubbard, Tommy Smith, Vincent Herring, Jon Faddis and Renée Rosnes. He has played on several records with the latter and she plays in his band, Native Colours, which also includes Steve Wilson. An exceptionally accomplished technician, Drummond is a highly supportive player, always listening and eager to bring out the best in the musicians he accompanies. http://www.allmusic.com/artist/billy-drummond-mn0000767592/biography

Personnel:  Billy Drummond (drums); Seamus Blake (soprano & tenor saxophones); Renee Rosnes (piano); Peter Washington (bass).

The Gift

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Herb Ellis - Roll Call

Styles: Guitar Jazz
Year: 1991
File: MP3@320K/s
Time: 54:28
Size: 126,7 MB
Art: Front

(5:26)  1. Just Blue
(3:49)  2. Naptown Blues
(4:19)  3. Isn't It Romantic
(4:55)  4. Till The Hurt Goes Away
(3:58)  5. Lime House Blues
(4:39)  6. Blues For Junior
(3:52)  7. Sugar Hill Stomp
(4:41)  8. Once I Loved
(8:46)  9. Detour Ahead
(4:55) 10. Blues For Bernie
(5:05) 11. Amazing Grace

Herb Ellis' first full set as a leader since leaving the Concord label (where he had been during 1973-88) finds him in inspired form. The veteran guitarist is heard in a trio with the recently rediscovered organist Mel Rhyne and drummer Jake Hanna plus guest violinist Johnny Frigo and Jay Thomas on tenor and flugelhorn. A fire seemed to have been lit under Ellis for he plays on the well-rounded program with much more passion than he had on most of his later Concord albums. This CD is highlighted by "Just Blue," "Limehouse Blues," "Sugar Hill Stomp," and "Detour Ahead" but all 11 selections are worth hearing. Recommended. ~ Scott Yanow http://www.allmusic.com/album/roll-call-mw0000115665

Personnel:  Herb Ellis (guitar);  Jay Thomas (tenor saxophone, flugelhorn);  Johnny Frigo (violin);  Mel Rhyne (Hammond B-3 organ);  Jake Hanna (drums).

Roll Call

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