Arne Domnérus - Jazz At The Pawnshop

Bitrate: MP3@320K/s
Time: 69:29
Size: 159.1 MB
Styles: Contemporary jazz
Year: 1977
Art: Front

[10:13] 1. Limehouse Blues
[ 8:03] 2. Confessin' (That I Love You)
[ 7:11] 3. High Life
[ 7:04] 4. Jeep's Blues
[ 9:19] 5. Lady, Be Good!
[ 6:57] 6. Take 5 Take Five
[ 5:16] 7. Everything Happens To Me
[ 8:18] 8. Barbados
[ 7:05] 9. Stuffy

Bass – Georg Riedel; Drums – Egil Johansen; Piano – Bengt Hallberg; Saxophone, Clarinet – Arne Domnérus; Vibraphone – Lars Erstrand.

This is the first of four CD volumes that fully document a legendary engagement at the Pawnshop club in Stockholm, Sweden. Featured are Arne Domnerus (doubling on alto and clarinet), pianist Bengt Hallberg, vibraphonist Lars Erstrand, bassist Georg Riedel and drummer Egil Johansen. They mostly stick to swing standards, recalling the groups of Benny Goodman and Lionel Hampton. Highlights include a heated "Limehouse Blues," the African folk song "High Life," "Lady Be Good" and Coleman Hawkins's "Stuffy." All of the volumes in this series are well worth getting by straightahead jazz fans, particularly those not familiar with Arne Domnerus's excellent playing. ~Scott Yanow

Jazz At The Pawnshop

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Nicki Parrott - Fever: The Best Of Nicki Parrott

Size: 159,7 MB
Time: 68:14
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz Vocals
Art: Full

01. Moon River (4:00)
02. You'd Be So Nice To Come Home To (3:38)
03. Getting Some Fun Out Of Life (4:41)
04. Bei Mir Bist Du Schoen (4:03)
05. Fly Me To The Moon (4:05)
06. I Love The Way You're Breakin' My Heart (4:03)
07. Black Coffee (5:36)
08. Dark Eyes (3:52)
09. Fever (4:14)
10. Like A Lover (5:01)
11. For No One (2:31)
12. How Could You Do A Thing Like That To Me (4:23)
13. Detour Ahead (5:32)
14. Somewhere Over The Rainbow (5:32)
15. Best Things In Life Are Free (3:18)
16. What Are You Doing The Rest Of Your Life (3:38)

Born in Newcastle, Australia, Nicki started her musical training at age four with the piano, followed by the flute, soon after. Nicki switched to double bass at the age of 15.

After graduating high school she moved to Sydney to study jazz at the New South Wales Conservatorium of Music where she began to play with Australian musicians such as Mike Nock, Dale Barlow, Paul Grabowsky, Bernie McGann, and Ten Part Invention. She also toured Australia with Russian musicians Daniel Kramer and Alexander Fischer and American trumpeters Bobby Shew and Chuck Findley. She continued her studies with various bassists including visiting artists Ray Brown and John Clayton.

Nicki was the recipient of two awards, a scholarship to Pan Pacific Music Camps at the age of 16, and first place in the 1992 Jazz Action Society’s Annual Song Competition for her composition “Come and Get It,” which is the opening track of Nicki and her sister Lisa’s debut CD, “Awabakal Suite”. She was also nominated for the annual Australian Young Achievers Award by the Arts Council of Australia who granted her the funds to come to New York to study with Rufus Reid. Nicki came to New York in May 1994.

In June 2000, Nicki began performing on Monday nights at the Iridium Jazz Club with the legendary guitarist and inventor, Les Paul. As part of the Les Paul Trio, Nicki worked side-by-side with guitar greats from Paul McCartney, Slash, Steve Miller to fellow Aussie, Tommy Emmanuel.

Since then she has performed with such notable musicians as Michel Legrand, Joe Wilder, Randy Brecker, Clark Terry, Jose Feliciano, Bucky Pizzarelli, John Pizzarelli, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Harry Allen, Marlena Shaw, David Krakauer, Ken Peplowski, Ann Hampton Callaway, Bill Mays, Scott Hamilton, Lillian Boutte, Larry Carlton and Houston Person, just to name a few.

Nicki has also performed in several Broadway shows such as Avenue Q, Imaginary Friends, You’re a Good Man, Charlie Brown, Summer of ’42 and Jekyll and Hyde and has made several television and documentary appearances including The Gossip Girls, Chasing Sound and Thank You Les, which recently debuted on PBS.

In 2007 and 2008, Nicki received back to back honors for Swing Journal’s Best Jazz Vocal Album (Moon River and Fly Me to The Moon, respectively).

In 2010 her album Black Coffee (Venus) received Swing Journal’s Gold Disc award.

In 2012, Nicki headlined the Fujitsu Concorde Jazz festival after the release of her eighth CD from Venus Records, Sakura Sakura. She is currently recording her 16th release for the label.

Nicki has performed at most major festivals around the globe including the Mary Lou Williams Jazz Festival, Newport Jazz Festival, Jazz in July at the 92nd Street Y, Litchfield Jazz Festival, Detroit Jazz Festival, the Lionel Hampton Jazz Festival and the Newport Beach Jazz Party, Jazz Ascona and Bern Jazz Festival in Switzerland and many others.

Fever

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Dave Askren & Jeff Benedict - Come Together

Size: 139,7 MB
Time: 60:07
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Cheese Grits (6:01)
02. Come Together (8:21)
03. Nardis (5:14)
04. Moments Notice (6:09)
05. Hear This (5:18)
06. On It (6:16)
07. Pineapple Head (5:19)
08. Willow Weep For Me (6:31)
09. Groove Merchant (6:01)
10. 'Deed I Bu (4:52)

Cheese Grits reflects my long-standing love for Stanley Turrentine, who was my inspiration for this recording. I saw Stanley when I was in high school – he was playing in Denver at a club called Ebbets Field and Paul Romaine and I weaseled our way in, even though we were under age. I was blown away by his great sound and impeccable time. I later discovered the recordings of Stanley with Shirley Scott and Jimmy Smith – and I fell in love with the sound of Tenor Sax, Guitar and Organ. I have had the good fortune to play in some organ groups, but I have always wanted to record with one. Come Together is Dave’s take on the Beatles’ classic. He put it in 7/4, which made it a real challenge. We were worried that we wouldn’t be able to pull it off in the studio – and we ended up getting it on the first take. Moment?s Notice is also Dave’s concept, and it is also in an odd meter. Paul and Joe really brought the groove alive on this tune – we struggled with it until we stopped trying to be the Coltrane quartet and we laid it back a bit – it locked right in with more of a cool feel to it. Hear This is an original by Dave, and he based the tune on the standard I Hear a Rhapsody. It’s a nice laid-back funk groove with a lot of space for everyone. On It is another original by Dave – an up-tempo groove. Pineapple Head is a tune I wrote some years back. I had a huge crush on a beautiful girl I met in college named Karen – one of the things I loved bout her was her unusually thick hair. Sometimes she would tie it up on the top of her head to get it out of her way, and she looked like a Pineapple –so she became Pineapple Head. I dug it out for this session because I knew Joe and Paul would find a nice groove on it. Willow Weep For Me is based on The Blood, Sweat and Tears version of God Bless the Child. BS&T was a huge influence on me. When I thought about doing a recording with an organ group, I knew we would have to have a shuffle. Groove Merchant reflects my love for the Thad Jones/Mel Lewis Jazz Orchestra – I heard them in Denver in 1976 and I was never the same. I was fortunate to get to play a lot of their music in college (I had a hip band director), and my favorite sax section soli was on Groove Merchant. As a nod to Thad, I wrote a soli for guitar and saxophone. Deed I Bu is Paul’s creation. It’s a tune that is based on a particular groove that Paul’s African Grey Parrot Bu gets into from time to time. Paul likes to say that it’s his Bird Transcription. The title stems from the fact that the tune is based on the changes to ‘Deed I Do.’ - Jeff Benedict

Come Together

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Denise King & Massimo Farao Trio - Working With Music: No More Desperate Housewives

Size: 125,0 MB
Time: 53:17
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front

01. Another Star (3:22)
02. Think (2:35)
03. Falling In Love With Love (2:21)
04. I Wish (3:44)
05. (Simply) The Best (5:39)
06. I'm In The Mood For Love (2:57)
07. Our Love Is Here To Stay (2:15)
08. Desafinado (4:53)
09. Don't Play That Song (You Lied) (2:47)
10. Love For Sale (3:02)
11. Signed, Sealed, Delivered I'm Yours (2:39)
12. They Can't Take That Away From Me (2:56)
13. What'd I Say (2:53)
14. Lean On Me (3:15)
15. In The Midnight Hour (3:00)
16. Lovely Day (4:52)

Influenced by Nancy Wilson, Marlena Shaw and Sarah Vaughan, Denise King is an expressive, big-voiced singer who combines jazz with elements of R&B, blues and gospel. King was born and raised in Philadelphia, where she was exposed to R&B as a child and discovered jazz at 12 thanks to an uncle who was an avid record collector. After graduating from high school, the Philadelphian entered the medical field and earned her living as a technician and a family-planning counselor. King was in her early 30s when she started doing club gigs around Philly, and eventually, she became a full-time singer. Though she's no stranger to standards, one of King's strong points has been her ability to provide jazz interpretations of rock and soul hits -- in fact, she has turned everything from Santana's "Evil Ways" to Ruby & the Romantics' "Our Day Will Come" into swinging acoustic jazz. King started recording in the 1990s, offering Live In Japan: I Remember You in 1993, Now Ain't That Love in 1996 and Simply Mellow in 1997. ~ Alex Henderson

Working With Music

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The Brett Gold New York Jazz Orchestra - Dreaming Big

Size: 166,0 MB
Time: 71:36
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Pumpkinhead, Pt. I ( 5:04)
02. Stella's Waltz ( 6:14)
03. Dream Moon ( 7:14)
04. Al-Andalus ( 6:42)
05. Lullaby For Lily ( 6:03)
06. Exit, Pursued By A Bear (Slow Drag Blues) ( 5:45)
07. Infinity Row ( 6:50)
08. Theme From An Unfinished Film ( 5:12)
09. That Latin Tinge ( 5:40)
10. Monkfish ( 5:18)
11. Nakba (11:30)

What's that you say? A New York-based Jazz Orchestra as admirable as this one whose recording debut was delayed for more than twenty-five years? There ought to be a law! Well, in this case it wasn't the law but a lawyer who sidetracked the orchestra's debut for so many years. His name is Brett Gold, and he set aside his trombone and dream of leading a band while in college, following instead his parents' wish that he pursue a more practical (and financially rewarding) career as an attorney.

Even as Gold flourished in the field of international and corporate tax law, however, the dream never died, and he decided at last to assemble an orchestra to perform a number of the songs he had written and arranged while looking forward to the "someday" in which his long-held aspiration might become a reality. The result is Dreaming Big, a bright and always engaging mosaic of prismatic colors, harmonies and rhythms that marks the arrival—better late than never—of a bold new voice on the big-band scene.

As for the music itself, Gold takes his cue from Ellington, Strayhorn, Gil Evans, Bill Holman, Don Ellis, Thelonious Monk and such film composers as Bernard Herrmann, David Raksin and Ennio Morricone, having studied composing and arranging with Mike Abene, Jim McNeely and Mike Holober at the BMI Jazz Composers Workshop. The opener, "Pumpkinhead, P.I." is one of two twelve-tone compositions (the other is "Infinity Row"). There's a stylish mambo ("That Latin Tinge"), a slow waltz ("Stella's") and a faster one ("Lullaby for Lily"), songs inspired by Thelonious (the playful "Monkfish," featuring Frank Basile's rumbling baritone sax), those Hollywood composers ("Theme from an Unfinished Film") and even Shakespeare ("Exit, Pursued by a Bear," a slow blues based on a stage direction from The Winter's Tale). The ambitious eleven-minute finale, written with Gold's Moroccan sister-in-law in mind, depicts in musical terms the Arab-Israeli war of 1948.

The orchestra is razor-sharp, with impressive solos along the way by Basile; tenors Charles Pillow, Tim Ries and Dave Riekenberg; trumpeters Scott Wendholt and Jon Owens, soprano Mark Vinci, alto Matt Hong, trombonist Bruce Eidem, pianist Ted Kooshian, guitarist Sebastian Noelle, bassist Phil Palombi and drummer Scott Neumann. As debuts go, meticulously planned and superbly executed. Let's hope we don't have to wait twenty-five years for an encore. ~Jack Bowers

Personnel: Brett Gold: composer, arranger, leader; Jon Owens: trumpet, flugelhorn; James de la Garza: trumpet, flugelhorn; Dylan Schwab: trumpet, flugelhorn; Scott Wendholt: trumpet, flugelhorn; Mark Vinci: alto, soprano sax, clarinet, flute; Matt Hong: alto sax, clarinet, flute; Dave Riekenberg: tenor sax, clarinet; Tim Ries: tenor, soprano sax, flute, clarinet (3, 5-7, 11); Charles Pillow: tenor, soprano sax, clarinet (1, 2, 4, 8-10); Frank Basile: baritone sax, bass clarinet; Bruce Eidem: trombone; John Allred: trombone; Bob Suttmann: trombone; Jeff Nelson: bass trombone; Ted Kooshian: piano; Sebastian Noelle: guitar (3, 5, 6, 7); Phil Palombi: bass; Scott Neumann: drums.

Dreaming Big

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Lewis Franco & The Missing Cats - With Cousin Joe, Sonny Joe & Grampa Joe (Feat. The Brown Eyed Girls)

Size: 101,3 MB
Time: 38:16
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Retro Swing, Vocals
Art: Front

01. Follow The Golden Goose (2:08)
02. All Of These (2:22)
03. The Brill Hotel (3:45)
04. Don't Fix It (3:18)
05. Lost And Alone (3:08)
06. Cheating On Your Life (2:45)
07. What's Shakin' Now (2:48)
08. It Didn't Have To Be You (3:36)
09. You're The Best I've Got (3:16)
10. Settle Down (2:56)
11. All Shiny New (2:41)
12. Cuando El Rey Nimrod, Great Grandfather (5:29)

Lewis Franco and The Missing Cats, the group that Robert Resnik of Vermont Public Radio calls the “swinging band that plays dynamic music that’s always fun to listen to,” is proud to announce the release of their new disc, "With Cousin Joe, Sonny Joe, & Grampa Joe." The album is the third for the group and the fifth for Franco.

On their new CD, Lewis Franco and the Missing Cats build on their signature sound, creating memorable original tunes that blend improvisational styles such as swing, jive, bebop, Dixieland, western, jump blues, and jazz ballads. Vocal arrangements feature gorgeous three-part harmonies by The Brown Eyed Girls, and Franco’s well-crafted lyrics once again take us to fascinating and unexpected places, including the Island of Rhodes, where the cover photo of his great-grandfather was taken.

With Cousin Joe, Sonny Joe & Grampa Joe

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David Hazeltine Trio - Waltz for Debby

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 60:13
Size: 138,2 MB
Art: Front

(8:38)  1. Waltz for Debby
(6:07)  2. Peri's Scope
(5:29)  3. Time Remembered
(7:52)  4. Show Type Tune
(5:50)  5. Very Early
(4:32)  6. Bill at Peace
(6:26)  7. Funkallero
(7:11)  8. The Two Lonely People
(8:08)  9. Turn Out the Stars

David Hazeltine is one of New York City's busiest jazz pianists and he has also attracted attention overseas, having recorded for a number of European and Japanese labels in addition to this work in the U.S. Producer Tetsuo Hara became particularly enamored with Hazeltine and has recorded him on a regular basis for his Venus label; this outing is a tribute to the great pianist/composer Bill Evans, recorded in late 1998. It's a challenge to play Evans' compositions without a certain degree of his influence in a piano trio setting, but that doesn't really matter, as the three musicians keep the music fresh, even if there is nothing innovative about their approach. Vetran bassist George Mraz is a veteran of many sessions as a sideman for Venus, and drummer Billy Drummond is also a first-call player, while both fit the mold of musicians who would have complemented Evans himself. Hazeltine never attempts to outright copy Evans' playing style, beginning with a breezy "Waltz for Debby" that percolates with energy. Ballads are always an acid test for jazz musicians, and Hazeltine's treatment of the bittersweet "Time Remembered" brings out the lyricism of this beautiful work. Mraz is showcased in good light in the challenging "Funkallero." Hazeltine has one solo feature, the intricate original "Bill at Peace," in which the late pianist's influence is readily apparent. The audio throughout this enjoyable session is superb, giving the listener the feeling of sitting a few feet away from the trio in the studio. ~ Ken Dryden http://www.allmusic.com/album/waltz-for-debby-mw0000532791

Personnel:  Piano – David Hazeltine;  Bass – George Mraz;  Drums – Billy Drummond

Waltz for Debby

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Lalah Hathaway - Lalah Hathaway

Styles: Vocal, Soul
Year: 1990
File: MP3@320K/s
Time: 45:04
Size: 103,9 MB
Art: Front

(3:38)  1. Somethin'
(5:17)  2. Heaven Knows
(4:04)  3. Baby Don't Cry
(4:55)  4. Smile
(3:28)  5. U-Godit Gowin' On
(5:37)  6. I'm Coming Back
(4:16)  7. Stay Home Tonight
(4:46)  8. I Gotta Move On
(3:42)  9. Sentimental
(5:16) 10. Obvious

When Lalah Hathaway's self-titled debut album came out in 1990, there was reason to believe that she might evolve into one of the top female R&B singers of the 1990s. Donny Hathaway's daughter certainly had a lot going for her not only a big vocal range, but also plenty of charisma, passion, and charm to go with it. The material on this CD ranges from excellent to routine, depending on who's writing and/or producing a particular song. Hathaway doesn't always have fantastic material to work with, but when she does, the results are quite memorable. The producers/songwriters who really do Hathaway justice include Angela Winbush on "Baby, Don't Cry" and "I Gotta Move On," and Andre Fisher on "Smile" and "Somethin'." While those selections come across as personal, Hathaway slips into a routine, less-than-memorable urban contemporary grind thanks to Chuckii Booker on "Sentimental," and Craig T. Cooper on "Obvious" and "U-Godit Gowin On." Again, not everything on the album is a gem. But when Hathaway had strong material to work with, it was clear that she had a lot of potential. ~ Alex Henderson http://www.allmusic.com/album/lalah-hathaway-mw0000689967

Lalah Hathaway

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Don Byas - Jazz In Paris: Laura

Styles: Saxophone Jazz
Year: 1952
File: MP3@320K/s
Time: 55:23
Size: 127,6 MB
Art: Front

(2:49)  1. Summertime
(2:36)  2. Night And Day
(2:58)  3. Easy To Love
(2:38)  4. Where Or When
(2:58)  5. Flamingo
(3:19)  6. Stardust
(2:50)  7. Old Man River
(2:45)  8. The Man I Love
(2:54)  9. Georgia On My Mind
(2:51) 10. Over The Rainbow
(4:16) 11. Laura
(2:54) 12. Somebody Loves Me
(3:20) 13. Old Folks At Home
(2:38) 14. Riviera Blues
(2:59) 15. Smoke Gets In Your Eyes
(4:07) 16. I Cover The Waterfront
(3:27) 17. It's The Talk Of The Town
(2:56) 18. A Pretty Girl Is Like A Melody

Don Byas was clearly a rising star when he walked away from fame. He was the first to hold the Lester Young chair in the Count Basie, before his 30th birthday. After two years with Basie he moved to New York City, where he played and recorded with the likes of Dizzy Gillespie and Coleman Hawkins. In 1946 Byas toured Europe and decided France was the place he wanted to live, and so he did.  Laura is a compilation of several recordings made by Byas between 1950 and 1952. This is Byas in a swing mode, playing slow to moderate tempo standards and ballads, and he is nothing short of magnificent. His playing is lavishly creative and sensual, with a background strain of melancholy. This is romantic swing music with Byas's sax front and center, singing out line after line of beautifully constructed tenor solos.  All three bands play capable, supportive roles, with the drummers consistently demonstrating a light touch. Occasionally, a pianist contributes a concise solo, with Art Simmons offering sensitive accompaniment and intelligent solo work throughout. But these are polite bands that graciously leave the spotlight to the saxophone. The gorgeous opener, "Summertime," sets the after-hours feel of the recording, and Byas never lets up. Laura is one of French label Gitane's Jazz in Paris series, notable not only for the quality of its releases but also for its handsome cover photos. Not since the old Blue Note covers from the 1950s and '60s has there been such an attractive presentation of jazz. Perhaps a few up-tempo tunes would have provided more variety to this recording, but for those in the mood for a master saxophonist playing some of the best laid back swing saxophone you're ever likely to hear, then Laura just might be the one. ~ Mike Neely https://www.allaboutjazz.com/laura-don-byas-gitanes-review-by-mike-neely.php
 

Personnel: Don Byas: tenor sax; Art Simmons: piano; Jean-Jacques Tiche: guitar; Roger Grasset: bass; Claude Marty: drums. (tracks 1,5,7,18). Don Byas: tenor sax; Maurice Vander: piano; Jean-Pierre Sasson: guitar; Jacques Medvedko: bass; Benny Bennett: drums. (tracks 2-4, 8-10). Don Byas: tenor sax; Art Simmons: piano; Joe Benjamin: bass; Bill Clark: drums. (tracks 11-18).

Jazz In Paris: Laura

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Jack Teagarden Sextet - Jack Teagarden At The Roundtable

Styles: Trombone Jazz
Year: 1959
File: MP3@320K/s
Time: 39:51
Size: 91,8 MB
Art: Front

(6:04)  1. South Rampart Street Parade
(6:26)  2. St. James Infirmary
(3:33)  3. Big Noise From Winetka
(3:28)  4. When
(5:52)  5. St Louis Blues
(4:23)  6. Honeysuckle Rose
(3:15)  7. Stardust
(6:47)  8. When The Saints Go Marching In

Recorded at the Roundtable nightclub in New York City on July 1, 1959, this performance marked the beginning of a new, penultimate phase of Jack Teagarden's recording career. His Capitol Records contract having ended the previous spring, he then performed for the portable recording equipment of Roulette Records, which would release some of the sides recorded at this gig as a live album, and which would, for a time, revive his fortunes. Although he's a little less agile and powerful, having reached his late 50s after a career's worth of constant work, and some health problems (later resolved), the cohesiveness of the band makes this release well-worth hearing. The group, in a typical live set, plays seven Dixieland warhorses and the obscure "When" (which was written by the King of Thailand). Teagarden, trumpeter Don Goldie, clarinetist Henry Cuesta, the great stride pianist Don Ewell, bassist Stan Puls, and drummer Ronnie Greb put on a lively, crowd-pleasing show highlighted by "South Rampart Street Parade," "St. James Infirmary" (sung by Teagarden), "St. Louis Blues," and Ewell's feature on "Honeysuckle Rose." [Note: as of 2005, At the Roundtable has never been reissued on its own, but is part of Mosaic's Complete Roulette Jack Teagarden Sessions, augmented with a significant body of unreleased track from this same performance.] ~ Scott Yanow  http://www.allmusic.com/album/at-the-roundtable-mw0000908714

Personnel:  Jack Teagarden - trombone, vocals;  Don Goldie - trumpet, vocals;  Henry Cuesta – clarinet;  Don Ewell – piano;  Stan Puls – bass;  Ronnie Greb - drums

Jack Teagarden At The Roundtable

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Irene Schweizer - Many and One Direction

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 57:01
Size: 133,8 MB
Art: Front

(4:43)  1. Contours
(5:17)  2. Hüben wie drüben
(5:55)  3. May Day
(5:34)  4. Jungle Beats (dedicated to D. C.)
(5:00)  5. Nobile
(2:42)  6. Ictus
(2:34)  7. Last Call
(7:47)  8. Im Zwielicht
(3:56)  9. Sisyphos
(3:41) 10. Saitenpfade
(3:52) 11. Heat Flushes
(3:44) 12. Bleu foncé
(2:15) 13. Chordially

The great Swiss pianist Irene Schweizer goes it alone on her latest release, Piano Solo – Many and One Direction. Here, the critically acclaimed pianist pursues various angles via her noteworthy affinity for rhythmic movement and altogether penetrating execution as each piece is strikingly unique. On “Huben Wie Druben”, Ms Schweizer constructs Bill Evans-type harmonics and melodies while featuring her rhythmically active left hand, that at times conveys somewhat of a classical outlook. Here, the pianist creates enticing melodies along with shifting meter and acute improvisation, which equates to superb invention! The piece titled, “Jungle Beats. Dedicated to D.C.”, features themes performed in various octaves supplemented by furious right hand single note leads in tandem with a tempestuous pulse. Ms Schweizer is also a master at integrating sonorous themes and melodies with on-the-fly improvisation and rapid development. On “Last Call”, the pianist settles into some free-jazz motifs while delicately strumming the piano strings as she furthers that concept with an exhilarating rhythmic sequence on the piece titled, “Saitenpfade”. Ms Schweizer also performs a brief, yet playful rendition of Carla Bley’s “Ictus” as she closes out this diverse affair with a straightforward and affable version of Monk’s “Chordially”.Simply stated, Many And One Direction offers the listener a truly rousing glimpse of this remarkable musician. Don’t let this one slip by.......Highly recommended!

Personnel:  Irene Schweizer - Solo Piano

Many and One Direction

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Dr. John - In A Sentimental Mood

Bitrate: MP3@320K/s

Time: 40:31

Size: 92.8 MB

Styles: R&B

Year: 1989

Art: Front

[4:07] 1. Makin' Whoopee! (With Rickie Lee Jones)

[5:33] 2. Candy

[3:53] 3. Accentuate The Positive

[3:50] 4. My Buddy

[4:05] 5. In A Sentimental Mood

[4:12] 6. Black Night

[4:53] 7. Don't Let The Sun Catch You Cryin'

[5:15] 8. Love For Sale

[4:41] 9. More Than You Know

On Dr. John's first major-label effort, and first vocal studio album in ten years, he performs a set of pop standards including Cole Porter's "Love for Sale" and Johnny Mercer's "Accentuate the Positive." After starting out with a wild stage act and unusual costumes, Dr. John has evolved into a vocal stylist and piano virtuoso, which makes the idea of doing this sort of material appealing. And he does it well, turning out a leisurely duet with Rickie Lee Jones on "Makin' Whoopee" that won a Grammy (Best Jazz Vocal Performance, Duo or Group), and giving sad feeling to "My Buddy." Maybe he has changed since the Gris Gris days, but even a mellowed Dr. John is a tasty one. ~William Ruhlmann

In A Sentimental Mood 

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Carmen McRae - Lover Man

Bitrate: MP3@320K/s
Time: 46:17
Size: 105.9 MB
Styles: Vocal, Standards
Year: 1962
Art: Front

[2:45] 1. Them There Eyes
[4:51] 2. Yesterdays
[2:31] 3. I'm Gonna Lock My Heart (And Throw Away The Key)
[2:46] 4. Strange Fruit
[2:26] 5. Miss Brown to You
[4:05] 6. My Man
[2:51] 7. I Cried for You
[4:18] 8. Lover Man
[2:19] 9. Trav'lin' Light
[3:02] 10. Some Other Spring
[3:30] 11. What a Little Moonlight Can Do
[3:23] 12. God Bless the Child
[3:27] 13. If the Moon Turns Green
[3:55] 14. The Christmas Song

Carmen McRae is definitely one of jazz's underrated vocalists as this tribute to her idol, Lady Day clearly shows. Carmen proves she is a mean swinger on tracks like Them There Eyes, I Cried For You & especially Miss Brown To You, where her response at the end of the horn solo is just a slice of jazz heaven. On the ballads, Carmen is mellow & tender on numbers like Lover Man and has that bittersweet cynicism on torch songs like Yesterdays. Carmen never tries to imitate Lady Day but leaves her own unique stamp on each & every one of these Holiday classics. An album easily recommended for any Carmen fanatic or someone looking for the ideal place to start one's love affair with one of jazz's top songbirds or vocal jazz in general. ~Le Real Luc Ow

Lover Man

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Leroy Holmes - Bossa Nova

Bitrate: MP3@320K/s
Time: 30:39
Size: 70.2 MB
Styles: Bossa Nova
Year: 1962/2009
Art: Front

[3:06] 1. Samba De Uma Nota
[3:43] 2. Desafinado
[2:53] 3. Morena
[3:00] 4. Baia
[2:54] 5. Recado
[2:32] 6. Tabatinga
[3:14] 7. The Jazz Samba
[3:23] 8. Perfidia
[2:49] 9. Poinciana
[3:00] 10. O Pato (The Duck)

Holmes graduated from Hollywood High School, studied music at Northwestern University in Evanston, Illinois and the Juilliard School in New York, before working with a number of bandleaders during the 1930s and early 1940s. These included Ernst Toch, Vincent Lopez, and Harry James, for whose band, he wrote "The Mole".

After serving as a pilot and flying instructor, a lieutenant in the US Navy during the Second World War, he moved to Hollywood, where he was hired by MGM Music Studios as a house arranger and conductor. In 1950, he relocated to New York and continued as a record producer for MGM, and later moved to United Artists. During his time with MGM, he backed numerous vocalists, including Judy Garland, and in 1954 made what is possibly his best known recording, a version of the theme to the film The High and the Mighty. It sold over one million copies, and was awarded a gold disc. The song is known for its distinctive accompanying whistling, which was provided by Fred Lowery. Holmes provided the orchestration for Tommy Edwards epic 1958 hit "It's All In The Game", and tried rock and R&B with his backing to the Impalas "Sorry (I Ran All The Way Home)". Holmes also wrote the theme song to the television series International Detective.

He moved to United Artists Records in the early 1960s, where he contributed to many compilations of movie themes, released albums under his own name and backed a succession of singers, notably Connie Francis, Gloria Lynne, Shirley Bassey and Puerto Rican singers like Tito Rodríguez and Chucho Avellanet. In addition, he produced albums for a number of United Artists acts, including the Briarwood Singers. He also worked on the music for the 1977 film The Chicken Chronicles. Holmes died at Cedars-Sinai Medical Center in Los Angeles, California at the age of 72

Bossa Nova

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Trini Lopez - The Love Album

Bitrate: MP3@320K/s

Time: 35:38

Size: 81.6 MB

Styles: Vocal

Year: 1965/2005

Art: Front

[3:25] 1. Are You Sincere

[2:17] 2. Our Day Will Come

[2:56] 3. Laura

[3:25] 4. Dear Heart

[3:19] 5. People

[2:32] 6. You'll Be Sorry

[2:54] 7. Blue Velvet

[2:49] 8. Moon River

[3:06] 9. Return To Me

[2:49] 10. Sad Tomorrows

[2:51] 11. Tammy

[3:10] 12. A Taste Of Honey

In his continuing quest to be all things to all record-buyers, Trini Lopez added The Love Album to his previous records The Latin Album and The Folk Album (one more was yet to come: The Rhythm and Blues Album). With arrangements from Don Costa -- whose blend of flutes and strings smoothened many a Sinatra chart of the '60s (and who had actually discovered Lopez a few years earlier) -- the LP certainly had potential, but the misses outweigh the hits. Lopez's voice was deep and friendly enough to appeal to most pop listeners of the era, and the material appears to have been selected well ("Blue Velvet," "Moon River," "People," "Our Day Will Come"). Still, Lopez doesn't have the same ease of delivery he'd shown on his previous work. With his pop singles ("Lemon Tree," "If I Had a Hammer") or with his Latin material, he always had energy to spare, but here he appears unsure of how to treat the type of vocal pop that gets a performer into a supper club. ~John Bush

The Love Album

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Tommy Flanagan - Tommy Flanagan Plays The Music of Harold Arlen

Bitrate: MP3@320K/s
Time: 48:53
Size: 111.9 MB
Styles: Piano jazz
Year: 2008
Art: Front

[5:46] 1. Between The Devil And The Deep Blue Sea
[4:20] 2. Over The Rainbow
[6:01] 3. Sleepin' Bee
[6:34] 4. Ill Wind
[6:31] 5. Out Of This World
[3:17] 6. One For My Baby
[5:12] 7. Get Happy
[5:15] 8. My Shining Hour
[5:52] 9. Last Night When We Were Young

Originally released by the Japanese Trio label and reissued on a DIW CD in that country, this Tommy Flanagan session has only appeared in the U.S. thus far on an Inner City LP. The very consistent pianist performs nine Harold Arlen tunes with bassist George Mraz and drummer Connie Kay. Highlights include "Between the Devil and the Deep Blue Sea," "Sleepin' Bee," "One for My Baby" and "My Shining Hour." Producer Helen Merrill takes a sensitive vocal on "Last Night When We Were Young." Excellent music, but this one will be difficult to locate. ~Scott Yanow

Tommy Flanagan Plays The Music Of Harold Arlen

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David Kikoski - Mostly Standards

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 68:00
Size: 155,8 MB
Art: Front

( 9:02)  1. Grey Areas
( 8:39)  2. Blues On The Corner
( 6:47)  3. Old Folks
( 8:53)  4. Chance
( 7:41)  5. Doxy
( 6:28)  6. TBS
(12:42)  7. Autumn Leaves
( 7:45)  8. Leaves

David Kikoski's ninth CD is titled Mostly Standards, barely a half-truth when you peruse the titles of the selections. Only two of them are actual American popular songs, adapted as the brilliant pianist and his able trio can do them. They also tap on the familiar repertoire of McCoy Tyner, Sonny Rollins, and to an extent Miles Davis, while offering two originals and an adaptation of a classic. Bassist Eric Revis and drummer Jeff Watts have been in the mainstream post-bop jazz game long enough to fully understand how this music works, and add their estimable talents to Kikoski's consistently wondrous and inventive piano musings. The opener "Grey Areas" is a compelling and accessible original of the pianist, combining funk with mysterious dark bass ostinato. Kikoski's true romantic and nostalgic solo piano piece "Leaves" follows a lengthy, extemporaneous, ad infinitum hard bop stretching of "Autumn Leaves," where the changes of the latter standard are only slightly hinted at in the former modification. Tunes like the easygoing Rollins chestnut "Doxy" and Tyner's emerging standard "Blues on the Corner" seem simplistic, even nonchalant in the hands of these three great jazzmen. There's peace, reverence, and repast on "Old Folks," Kenny Kirkland's "Chance," and the Watts penned waltz "TBS," which displays his atypically languid mood. In fact, Watts is much more restrained throughout this entire date. Tasteful, in control, and technically perfect, Kikoski always delivers finely wrought mainstream jazz music that should please anyone with common sense about the music's core values, and this effort is no different. ~ Michael G.Nastos http://www.allmusic.com/album/mostly-standards-mw0000808577

Personnel: Dave Kikoski (piano); Eric Revis (upright bass); Jeff "Tain" Watts (drums).

Mostly Standards

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Dennis Coffey - Back Home

Styles: Guitar Jazz
Year: 1977
File: MP3@320K/s
Time: 42:57
Size: 99,1 MB
Art: Front

(5:21)  1. Funk Connection
(5:33)  2. Back Home
(5:49)  3. Free Spirit
(5:59)  4. Our Love Goes On Forever
(6:40)  5. High On Love
(5:50)  6. Boogie Magic
(7:41)  7. Wings Of Fire

With each successive effort for the Westbound label, Dennis Coffey moved further away from the heady funk-rock of his earliest LPs and towards a glossy, unapologetically commercial approach informed by the growing popularity of disco. With Back Home, he essentially abandons funk for good, in the process scoring a major disco hit with "Wings of Fire." But disco is about production, not virtuoso playing, and too much of Back Home stifles Coffey's innovative fretwork in favor of overbaked arrangements and repetitive rhythms. The end result smoothes away the rough edges that made Coffey such an exciting and singular guitarist. ~ Jason Ankeny http://www.allmusic.com/album/back-home-mw0000909827

Personnel:  Guitar – Dennis Coffey;  Alto Saxophone, Flute, Tenor Saxophone – Larry Nozero;  Bass – Roderick Chandler (Penut);  Drums – Lee Nathan Marcus;  Piano – Garry Schunk, Rudy Robinson;  Rhythm Guitar – Bruce Nazarian, Eddie Willis;  Trombone – Stu Sanders;  Trumpet – Johnny Trudell, Marcus Belgraves, Maurice Davis;  Vocals – Brandy

Back Home

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Lionel Hampton - You Better Know It

Styles: Vocal And Vibraphone Jazz 
Year: 1964
File: MP3@320K/s
Time: 39:49
Size: 91,6 MB
Art: Front

(3:29)  1. Ring Dem Bells
(5:08)  2. Vibraphone Blues
(3:59)  3. Tempo's Birthday
(3:12)  4. Sweethearts on Parade
(5:34)  5. Moon over My Annie
(3:34)  6. Pick-A-Rib
(6:03)  7. Trick or Treat
(3:06)  8. Cute
(2:44)  9. A Taste of Honey
(2:55) 10. Swingle Jingle

Vibist Lionel Hampton's rhythmic abilities haven't been dulled by age, and he displayed his proficiency on this date, which includes the enjoyable bonus track "Moon Over My Annie." There was no wasted energy or unnecessary or exaggerated solos; just bluesy, assertive, muscular arrangements, accompaniment, and ensemble segments. Highlights included "Vibraphone Blues," "Trick or Treat" and "Swingle Jingle," in which Hampton shifted from vibes to piano. ~ Ron Wynn http://www.allmusic.com/album/you-better-know-it%21%21%21-mw0000623627

Personnel: Lionel Hampton (vocals, vibraphone, piano); Ben Webster (tenor saxophone); Clark Terry (trumpet); Hank Jones (piano); Milt Hinton (bass); Osie Johnson (drums).

You Better Know It

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Irene Schweizer & Han Bennink - Welcome Back

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 48:03
Size: 110,4 MB
Art: Front

(6:02)  1. Welcome Back
(3:04)  2. Kit 4
(3:56)  3. Trap 5
(4:43)  4. Free for All
(2:14)  5. Meet Me Tonight in Dreamland
(2:42)  6. Verflixt
(2:52)  7. Rag
(3:42)  8. Bleu Foncé
(4:42)  9. Apus Melba
(3:25) 10. Ntyilo, Ntyilo
(3:05) 11. Firewood
(3:21) 12. To Misha with Love
(2:16) 13. I Surrender, Dear
(1:54) 14. Eronel

For such an assuredly rhythmic player Swiss pianist Irene Schweizer shows an unexpected affinity to drummers, who feature disproportionately as partners in her discography. But even so Welcome Back constitutes only the second entry to pair Schweizer with maverick Dutch drummer Han Bennink, following their eponymous debut (Intakt, 1996), which was itself preceded by years of engagement stretching back further still. In spite of their impeccable avant-garde credentials (both have been at the forefront of European improv for the last five decades) they have crafted a surprisingly accessible album which fizzes with joie de vivre. Two days in the studio generated sufficient material from which to select a diverse yet well-rounded program. Among the 14 short cuts are those which reflect a fondness for tradition (a gentle "Meet me tonight in dreamland" on which Bennink's airy accompaniment brings a smile to the face), the influence of South African expatriates (Johnny Dyani's richly voiced "Ntyilo, Ntyilo") and their regard for Monk (the concluding sunny rendition of "Eronel"). Though credited to one or other of the two principals, many of the remaining cuts sound spontaneous with an unforced freewheeling feel. They conjure outbreaks of irrepressible swing from even the seemingly most abstract surroundings -the opening title track in which Schweizer initially hints at Cecil Taylor is a good example. A relaxed vibe pervades the set, stemming from a perception that each can explore in whatever direction they choose no matter what the starting point.

Although largely held in check, Bennink's sense of mischief manifests in the occasional irreverent thump -as on ballad stylings of "Free for all." Tenderness comes out on the lilting stroll of "I surrender, dear." But glorious extemporized syncopation proves their strongest suit, notably evident in the pianist's "Rag" and the jointly apportioned "To Misha with love." In the end, it's two people having fun in a way which everyone can share. ~ John Sharpe https://www.allaboutjazz.com/welcome-back-irene-schweizer-intakt-records-review-by-john-sharpe.php

Personnel: Irene Schweizer: piano; Han Bennink: drums.

Welcome Back

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