Steely Dan - Countdown to Ecstasy

Styles: Vocal And Guitar Jazz 
Year: 1973
File: MP3@320K/s
Time: 40:24
Size: 94,0 MB
Art: Front

(5:14)  1. Bodhisattva
(3:10)  2. Razor Boy
(5:36)  3. The Boston Rag
(6:35)  4. Your Gold Teeth
(5:23)  5. Show Biz Kids
(5:41)  6. My Old School
(3:44)  7. Pearl Of The Quarter
(4:58)  8. King Of The World

Can't Buy a Thrill became an unexpected hit, and as a response, Donald Fagen became the group's full-time lead vocalist, and he and Walter Becker acted like Steely Dan was a rock & roll band for the group's second album, Countdown to Ecstasy. The loud guitars and pronounced backbeat of "Bodhisattva," "Show Biz Kids," and "My Old School" camouflage the fact that Countdown is a riskier album, musically speaking, than its predecessor. Each of its eight songs have sophisticated, jazz-inflected interludes, and apart from the bluesy vamps "Bodhisattva" and "Show Biz Kids," which sound like they were written for the stage, the songs are subtly textured. "Razor Boy," with its murmuring vibes, and the hard bop tribute "Your Gold Teeth" reveal Becker and Fagen's jazz roots, while the country-flavored "Pearl of the Quarter" and the ominous, skittering "King of the World" are both overlooked gems. Countdown to Ecstasy is the only time Steely Dan played it relatively straight, and its eight songs are rich with either musical or lyrical detail that their album rock or art rock contemporaries couldn't hope to match. 

~ Stephen Thomas Erlewine http://www.allmusic.com/album/countdown-to-ecstasy-mw0000191882

Personnel: Walter Becker (vocals, guitar, harmonica, bass guitar); Donald Fagen (vocals, piano, electric piano, keyboards, synthesizer, percussion); David Palmer (vocals, keyboards, background vocals); Jim Hodder (vocals, drums, percussion); Sherlie Matthews, Patricia Hall, Royce Jones, Michael Fennelly, James Rolleston, Myrna Matthews (vocals, background vocals); Ben Benay (guitar, acoustic guitar); Rick Derringer (guitar, slide guitar); Jeff Baxter (guitar, steel guitar); Denny Dias (guitar); Ernie Watts, John Rotella, Lanny Morgan, Bill Perkins (saxophone); Victor Feldman (keyboards, vibraphone, marimba, percussion); Sherlie Mathews, Pam Hall (background vocals).

Countdown to Ecstasy

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Fats Navarro - Goin' to Minton's

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 72:07
Size: 165,6 MB
Art: Front

(5:32)  1. Boppin' A Riff
(5:45)  2. Fat Boy
(5:52)  3. Everything's Cool
(5:38)  4. Webb City
(2:50)  5. Calling Dr. Jazz
(2:53)  6. Fracture
(2:42)  7. Hollerin' & Screamin'
(2:49)  8. Stealing Trash
(2:16)  9. Just A Mystery
(3:06) 10. Red Pepper
(2:33) 11. Spinal
(3:03) 12. Maternity
(2:21) 13. Fat Girl
(2:41) 14. Ice Freezes Red
(2:25) 15. Eb Pob
(2:52) 16. Goin' to Minton's
(3:00) 17. A Be Bop Carroll
(2:53) 18. The Tadd Walk
(2:44) 19. Nostalgia
(2:40) 20. Barry's Bop
(2:37) 21. Be Bop Romp
(2:48) 22. Fats Blows

There are many tragic figures in bebop history, but Fats Navarro's story is even sadder than most. Considered by some to be a better trumpeter than Dizzy Gillespie (Lennie Tristano is reported to have said of Gillespie, "He's a nice trumpet player, but he's no Fats"), Navarro was killed by his heroin addiction at age 26. This disc includes material from five sessions recorded between September of 1946 and December of 1947, when bop was at the height of its popularity and its most important and influential practitioners were still alive. Some of them, in addition to Navarro, are present on these sessions: Bud Powell plays piano on "Boppin' a Riff," "Fat Boy," "Everything's Cool," and his own "Webb City," tracks which also feature Sonny Stitt on alto and Kenny Clarke on drums. Other sessions feature Eddie "Lockjaw" Davis on tenor, frequent Charlie Parker sideman Curley Russell on bass, Charlie Rouse on tenor, and Art Blakey on drums. While the sound quality isn't always great, the performances themselves rarely fall short of greatness, and Navarro's sweet tone and effortlessly beautiful phrasing are a constant pleasure throughout. ~ Rick Anderson http://www.allmusic.com/album/goin-to-mintons-mw0000252304

Personnel includes: Fats Navarro (trumpet); Leo Parker (alto & baritone saxophones); Sonny Stitt, Ernie Henry (alto saxophone); Eddie "Lockjaw" Davis, Charlie Rouse, Morris Lane (tenor saxophone); Ed DeVerteuill (baritone saxophone); Kenny Dorham (trumpet); Bud Powell, Tadd Dameron, Al Haig (piano); Huey Long (guitar); Al Hall, Gene Ramey, Curley Russell, Nelson Boyd (bass); Kenny Clarke, Denzil Best, Art Blakey (drums).

Goin' to Minton's

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Gene Ammons - Funky

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 39:39
Size: 90,9 MB
Art: Front

( 9:01)  1. Funky
(12:23)  2. Pint Size
( 8:57)  3. Stella By Starlight
( 9:16)  4. King Size

The Gene Ammons all-star jam session recordings of the 1950's are all quite enjoyable and this one is no exception. The great tenor is matched with trumpeter Art Farmer, altoist Jackie McLean, guitarist Kenny Burrell, pianist Mal Waldron, bassist Doug Watkins and drummer Art Taylor for lengthy versions of "Stella By Starlight," the Burrell blues "Funky" and a pair of numbers by arranger Jimmy Mundy. All of the horns plus Burrell and Waldron get ample solo space and Ammons seems to really inspire his sidemen on these soulful bop jams. ~ Scott Yanow http://www.allmusic.com/album/funky-mw0000085895

Personnel:  Gene Ammons - tenor saxophone;  Art Farmer – trumpet;  Jackie McLean - alto saxophone;  Mal Waldron – piano;  Kenny Burrell – guitar;  Doug Watkins – bass;  Art Taylor – drums.

Funky

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Dexter Gordon - Daddy Plays The Horn

Styles: Saxophone Jazz
Year: 1955
File: MP3@320K/s
Time: 41:57
Size: 96,6 MB
Art: Front

(9:14)  1. Daddy Plays The Horn
(7:57)  2. Confirmation
(4:26)  3. Darn That Dream
(4:55)  4. Number Four
(6:26)  5. Autumn In New York
(8:57)  6. You Can Depend On Me

During a period of Dexter Gordon's (tenor sax) life when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays the Horn (1956). Joining him as key constituents of the credited Dexter Gordon Quartet are Kenny Drew (piano), Leroy Vinnegar (bass), and Larry Marable (drums). While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition "Daddy Plays the Horn." In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie "Bird" Parker's bop standard "Confirmation" is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays the Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. "Darn That Dream" embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. 

The generically monikered "Number Four" is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. "Autumn in New York" the album's other essential ballad  is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, "You Can Depend on Me" rounds out the platter with a bang. Each bandmember gets a final opportunity to shine which they individually take full advantage of. In 2005, the Shout! Factory label reissued Daddy Plays the Horn, placing the six selections in the correct running order, and the digital remastering by Randy Perry has the classic sounding better than ever. ~ Lindsay Planer http://www.allmusic.com/album/daddy-plays-the-horn-mw0000196851

Personnel: Dexter Gordon (tenor saxophone); Leroy Vinnegar (bass instrument); Kenny Drew (piano); Larance Marable (drums).

Daddy Plays The Horn

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Gil Mellé - Patterns In Jazz

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 37:00
Size: 84,9 MB
Art: Front

(4:50)  1. The Set Break
(5:15)  2. Weird Valley
(9:07)  3. The Arab Barber Blues
(8:18)  4. Nice Question
(4:55)  5. Moonlight In Vermont
(4:33)  6. Long Ago And Far Away

Like the modern art that stormed the art world in the '50s, Patterns in Jazz is filled with bright, bold colors and identifiable patterns that camouflage how adventurous the work actually is. On the surface, the music is cool and laid-back, but close listening reveals the invention in Melle's compositions and arrangements of the standards "Moonlight in Vermont" and "Long Ago and Far Away." Part of the charm of Patterns in Jazz is the unusual instrumental balance of Melle's bari sax, Eddie Bert's trombone, Joe Cinderella's guitar, and Oscar Pettiford's bass. These low, throaty instruments sound surprisingly light and swinging. Compared to the two standards, Melle's original compositions are a little short on melody, but they give the musicians room to improvise, resulting in some dynamic music. Ultimately, Patterns in Jazz is cerebral music that swings it's entertaining, but stimulating. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/patterns-in-jazz-mw0000463220

Personnel:  Gil Mellé - tenor saxophone, baritone saxophone;  Eddie Bert – trombone;  Joe Cinderella – guitar;  Oscar Pettiford – bass;  Ed Thigpen - drums

Patterns In Jazz

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Paul Chambers - Chambers' Music

Styles: Jazz, Post Bop
Year: 1956
File: MP3@320K/s
Time: 60:47
Size: 140,3 MB
Art: Front

( 6:48)  1. Dexterity
( 5:56)  2. Stablemates
( 3:54)  3. Easy To Love
( 4:57)  4. Visitation
( 6:58)  5. John Paul Jones
( 4:25)  6. Eastbound
(11:05)  7. Trane's Strain
( 8:13)  8. High Step
( 8:28)  9. Nixon, Dixon And Yates Blues

The first sessions as a leader for bassist Paul Chambers were recorded while he was a member of the Miles Davis Quintet. The first six selections feature Chambers with pianist Kenny Drew, drummer Philly Joe Jones, and (on four numbers) the immortal tenor saxophonist John Coltrane. This somewhat obscure date includes such jazz standards as "Dexterity" and "Stablemates" along with "Easy to Love" and three straight-ahead group originals. Coltrane dominates the numbers he is on, although his sound was not quite mature yet. Although none of this music is classic, it does give listeners a valuable early look at these important jazzmen. 

[Three bonus tracks added on the Blue Note 1989 CD reissue were listed as being from April 20, 1955, but the 2010 remastered edition on Fresh Sound clarified that the session took place exactly a year later. Chambers, Jones, and Coltrane welcome two young musicians recently transplanted from Detroit: baritonist Pepper Adams and trombonist Curtis Fuller. In addition, pianist Roland Alexander is on the lengthy "Trane's Strain."] ~ Scott Yanow http://www.allmusic.com/album/chambers-music-a-jazz-delegation-from-the-east-mw0000200663

Personnel:  Bass – Paul Chambers;  Drums – Philadelphia Joe Jones;  Piano – Kenny Drew; Tenor Saxophone – John Coltrane

Chambers' Music

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Laura Ainsworth - New Vintage

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 46:05
Size: 106,3 MB
Art: Front

(2:37)  1. Thats How I Got My Start
(2:24)  2. I'll Take Romance
(4:44)  3. Where Did The Magic Go
(2:50)  4. An Occasional Man
(4:54)  5. Wasting My Love On You
(4:01)  6. Nevertheless
(3:50)  7. A Little Jive Is Good For You
(4:23)  8. The Man I Love Is Gone
(3:13)  9. All About You
(3:00) 10. Nothing Can Replace A Man
(2:55) 11. It's A Nuisance Having You Around
(3:26) 12. Long Ago And Far Away And You Stepped Out Of A Dream
(3:40) 13. I Once Knew A Fella

Satin-voiced retro jazz vocalist Laura Ainsworth & her crew of top Texas jazz musicians' acclaimed breakthrough third CD of standards, lost gems and new songs in elegant midcentury lounge style.

"Sublime...A perfect album..." ~ Alan Mercer, AMProfile.blogspot.com/

“As excellent as her first two albums were, New Vintage looks to be Laura Ainsworth's breakthrough… (She) creates a rich, intoxicating atmosphere that transports the mind to another place and time…Thank you, Laura, for making the Great American Songbook exciting and fun again!" ~ David Gasten, producer, "This Is Vintage Now"

Dallas-based retro jazz chanteuse Laura Ainsworth’s first two albums (Keep It To Yourself and Necessary Evil) earned her worldwide airplay and critical raves, praise from Grammy-winning artists and performance bookings as far away as India and Dubai. Now, August 2017 looks to be her breakthrough, with the release of an audiophile vinyl best-of LP (Top Shelf), a spot alongside the great Sue Raney on the popular compilation series This Is Vintage Now Vol. 2, her solo NYC debut at the famous Metropolitan Room, and best of all, the release of her critically-acclaimed third album, New Vintage. Of course, her crew of top Texas jazz players are back, led by Laura’s amazing pianist/producer/arranger, Brian Piper, of the ‘Nawlins Gumbo Kings and the Brian Piper Trio (90th Floor Records). Fans will find more of what’s made Laura a leader in the growing vintage jazz/lounge/bachelor pad genre: her satiny, sultry, and as one reviewer put it, “impossibly old-fashioned” three-octave voice that’s been called a glorious throwback to the era of Rosemary Clooney, Dinah Shore and Julie London…fresh new spins on standards (“Nevertheless,” “Long Ago and Far Away”)…and overlooked gems (“Where Did The Magic Go,” a nostalgic AC ballad for the TCM generation; “All About You,” which Irving Berlin dubbed “a perfect love song”; the hilariously retro “Nothing Can Replace A Man”; and “That’s How I Got My Start” and “It’s A Nuisance Having You Around,” two sultry seduction ballads by Frank Loesser and Johnny Mercer, respectively, that haven’t been recorded in over half a century). 

But New Vintage brings new twists as well. Like the hip tiki exotica of “An Occasional Man,” complete with surf sounds and tropical bird calls…“The Man I Love Is Gone,” seemingly one of those lost treasures of the ‘40s she loves to unearth, but in fact a brand new ballad in the Great American Songbook style, written by Laura and veteran jazzman George Gagliardi…and “I Once Knew A Fella,” which is both a hilarious female sexual empowerment anthem and a tribute to the raucous lounge-jazz of legendary Vegas wildman Sam Butera of Louis Prima fame. Butera was a one-time bandmate of Laura’s late father, big band sax prodigy Billy Ainsworth, who helped form her unique retro musical tastes. A rare family photo of Butera and her dad performing together adorns the inside CD cover. So sit back and savor this New Vintage of Laura Ainsworth, from its smoky opening to its bold finish. Warning: Contents can be intoxicating…https://store.cdbaby.com/cd/lauraainsworth4

New Vintage

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Kenny Dorham - The Shadow Of Your Smile

Styles: Trumpet Jazz 
Year: 1966
File: MP3@320K/s
Time: 44:19
Size: 103,7 MB
Art: Front

(13:12)  1. Jong Fu
( 8:59)  2. Spring Is Here
( 6:31)  3. Somewhere In The Night
( 7:18)  4. The Shadow Of Your Smile
( 8:16)  5. Straight Ahead

Kenny Dorham had a deeply moving, pure tone on trumpet; his sound was clear, sharp, and piercing, especially during ballads. He could spin out phrases and lines, but when he slowly and sweetly played the melody it was an evocative event. Dorham was a gifted all-round trumpeter, but seldom showcased his complete skills, preferring an understated, subtle approach. Unfortunately, he never received much publicity, and though a highly intelligent, thoughtful individual who wrote insightful commentary on jazz, he's little more than a footnote to many fans. Dorham studied and played trumpet, tenor sax, and piano. He was a bandmember in high school and college; a college bandmate was Wild Bill Davis. Dorham started during the swing era, but was recruited by Dizzy Gillespie and Billy Eckstine to join their bands in the mid-'40s. He even sang blues with Gillespie's band. He recorded with the Be Bop Boys on Savoy in 1946. After short periods with Lionel Hampton and Mercer Ellington, Dorham joined Charlie Parker's group in 1948, staying there until 1949. He did sessions in New York during the early and mid-'50s, making his recording debut as a leader on Charles Mingus and Max Roach's Debut label in 1953. He then cut Afro-Cuban for Blue Note with Cecil Payne, Hank Mobley, and Horace Silver in 1955. Dorham was a founding member of Art Blakey's Jazz Messengers in 1954, and also led a short-lived similar band, the Jazz Prophets. Dorham played on the soundtrack of A Star Is Born in 1954, then spent two years with Max Roach from 1956 to 1958. There were dates for Riverside in the late '50s with Paul Chambers, Tommy Flanagan, and Art Taylor, plus other sessions with ABC-Paramount, three volumes for Blue Note done live at the Cafe Bohemia, and an intriguing but uneven session with John Coltrane and Cecil Taylor, Coltrane Time, in 1958. Dorham taught at the Lenox School of Jazz in 1958 and 1959, and wrote scores for the films Les Liaisons Dangereuses and Un Témoin dans la Ville in 1959. During the mid-'60s, he co-led a band with tenor saxophonist Joe Henderson that was shamefully neglected. There were such classic Blue Note releases as Whistle Stop, Una Mas, and Trumpet Toccata. Dorham made one album for Cadet in 1970, Kenny Dorham Sextet, with Muhal Richard Abrams. He died in 1972. Several of his Blue Note albums have been reissued, while his Prestige and Riverside dates have come out in sporadic fashion, some in two-record samplers. Other material for Pacific Jazz, United Artists, Steeplechase, Xanadu, and Time isn't as widely available. ~ Ron Wynn  http://www.allmusic.com/artist/kenny-dorham-mn0000768027/biography

Personnel:  Sonny Red (alto saxophone);  Kenny Dorham (trumpet);  Cedar Walton (piano);  John Ore (bass);  Hugh Walker (drums)

The Shadow Of Your Smile

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Kimiko Kasai with Herbie Hancock - Butterfly

Styles: Vocal, Jazz Funk
Year: 1997
File: MP3@320K/s
Time: 47:15
Size: 108,3 MB
Art: Front

(7:10)  1. I Thought It Was You
(5:11)  2. Tell Me A Bedtime Story
(3:44)  3. Head In The Clouds
(7:25)  4. Maiden Voyage
(4:55)  5. Harvest Time
(6:15)  6. Sunlight
(6:15)  7. Butterfly
(6:16)  8. As

A great album of soulful jazzy tracks from Japanese singer Kimiko Kasai with keyboards from Herbie Hancock and Webster Lewis incredible and unjustly overlooked! Kimiko sings in English, and the record's got a nice smooth fusion groove with funky moments, post Headhunters. It's almost in the mode of Herbie's work for the US in the late 70s, but truth be told, we like this better! It features some great versions of Herbie Hancock tunes including "Maiden Voyage", "Sunlight", "Butterfly", "Tell Me A Bedtime Story", and "Harvest Time" and it's also got a nice version of Stevie Wonder's "As", plus "Head In The Clouds" and the funk steeped opener "I Thought It Was You". © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/785895/Kimiko-Kasai-with-Herbie-Hancock:Butterfly

Personnel:  Vocals – Kimiko Kasai;  Backing Vocals – Herbie Hancock, Kimiko Kasai , Mari Kaneko , Yuka Kamebachi;  Bass – Paul Jackson ;  Clavinet – Herbie Hancock;  Drums – Alphonse Mouzon; Electric Piano – Herbie Hancock;  Piano – Webster Lewis;  Tenor Saxophone, Soprano Saxophone – Benny Maupin;  Vocoder – Herbie Hancock

Butterfly

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Fats Navarro - Dameronia 1947-1948

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 63:26
Size: 146,6 MB
Art: Front

(2:21)  1. Fat Girl
(2:41)  2. Ices Freezes Red
(2:24)  3. Eb Pob
(2:52)  4. Goin' To Mintons
(3:07)  5. Our Delight
(3:22)  6. The Squirrel
(3:00)  7. The Chase
(3:15)  8. Dameronia
(3:00)  9. A Bebop Carol
(2:53) 10. The Tadd Walk
(2:44) 11. Nostalgia
(2:40) 12. Barry's Bop
(2:37) 13. Bebop Romp
(2:51) 14. Fats Blows
(2:53) 15. Lady Byrd
(3:03) 16. Jahbero
(3:10) 17. Symphonette
(5:36) 18. Double Talk
(3:00) 19. Fat's Flat
(5:47) 20. Good Bait: (No 1)

One of the greatest jazz trumpeters of all time, Fats Navarro had a tragically brief career yet his influence is still being felt. His fat sound combined aspects of Howard McGhee, Roy Eldridge, and Dizzy Gillespie, became the main inspiration for Clifford Brown, and through Brownie greatly affected the tones and styles of Lee Morgan, Freddie Hubbard, and Woody Shaw. Navarro originally played piano and tenor before switching to trumpet. He started gigging with dance bands when he was 17, was with Andy Kirk during 1943-1944, and replaced Dizzy Gillespie with the Billy Eckstine big band during 1945-1946. During the next three years, Fats was second to only Dizzy among bop trumpeters. Navarro recorded with Kenny Clarke's Be Bop Boys, Coleman Hawkins, Eddie "Lockjaw" Davis, Illinois Jacquet, and most significantly Tadd Dameron during 1946-1947. He had short stints with the big bands of Lionel Hampton and Benny Goodman, continued working with Dameron, made classic recordings with Bud Powell (in a quintet with a young Sonny Rollins) and the Metronome All-Stars, and a 1950 Birdland appearance with Charlie Parker was privately recorded. However, Navarro was a heroin addict and that affliction certainly did not help him in what would be a fatal bout with tuberculosis that ended his life at age 26. He was well documented during the 1946-1949 period and most of his sessions are currently available on CD, but Fats Navarro could have done so much more. ~ Scott Yanow http://www.allmusic.com/artist/fats-navarro-mn0000792175/biography

Dameronia 1947-1948

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Marcela Mangabeira - Sweet Bossa

Styles: Vocal

Year: 2012
File: MP3@320K/s
Time: 39:52
Size: 91,4 MB
Art: Front

(4:12)  1. Lost In Love
(2:23)  2. Yesterday
(4:38)  3. Ring My Bell
(3:22)  4. Tarzan Boy
(2:56)  5. In My Life
(4:02)  6. Have I Told You Lately
(4:03)  7. I Just Called To Say I Love You
(3:16)  8. Yesterday Once More
(3:25)  9. How Deep Is Your Love
(4:11) 10. The Look Of Love
(3:20) 11. Killing Me Softly With His Song

Marcela Mangabeira (born August 31, 1981)  is a Brazilian singer from the state of Mato Grosso. She began her singing career in 1998 and after winning numerous local singing contests, Marcela toured through Spain, Denmark, Germany, France and the UK as a guest singer with BossaCucaNova. https://www.jellynote.com/en/artist/marcela-mangabeira/489336/albums

Sweet Bossa

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Charnett Moffett - Internet

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 72:27
Size: 168,5 MB
Art: Front

(3:51)  1. G.E.M.
(3:12)  2. Icon Blues
(3:48)  3. PTL
(4:25)  4. Kings and Queens
(1:54)  5. Coral
(4:39)  6. Free Raga
(5:31)  7. Jubilant
(4:59)  8. Rain Drops
(4:12)  9. Triumph
(5:20) 10. Mr. O. C.
(3:24) 11. Wishful Thinking
(6:10) 12. Happy Dreams
(3:36) 13. Internet
(5:48) 14. Universal March
(4:22) 15. Enjoy Your Life
(2:51) 16. Star-Spangled Banner
(4:18) 17. RAS

Nine years have passed since Charnett Moffett 's debut album, later featured in the role of bass player of Ornette Coleman and McCoy Tyner. As for its ninth CD as a leader, two distinct reads are required for the attention of the reviewer, called to evaluate both the expressive brilliance of musicians and the goodness of the project. Of course, Moffett's exquisitely solos are characterized by two salient features: a sharp double-bass effect, accompanied by a powerful and frustrating phrasing, though exuberant. Although energetic and dynamic, his music is not up to the solo figure and will arouse the interest of those who love crossover sounds, cross between canonical jazz and fusion.  Not to be exploited in all the expressive potentials is his remarkable trio, featuring the excellent pianist Stephen Scott, who is also involved in the acidic and granular side of the electric instrumentation. It is pleasing (re) to listen to an underrated artist whose tracks had been lost after the encouraging engravings for the Verve of the '90s. To him and to his wise use of the organ in jazz style, it is best to have a pleasant disc, but not very original on the compositional level. Translate by google ~ AAJ Italy /staff https://www.allaboutjazz.com/internet-charnett-moffett-piadrum-records-review-by-aaji-staff.php

Personnel: Eric McPherson: drums; Charnett Moffett: bass guitar, vocals, fretless bass, acoustic bass, bass; Maria Sartori-Spencer: vocals.

Internet

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Karen Lane and Paul Malsom - Can't Help It

Styles: Vocal And Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 50:26
Size: 117,4 MB
Art: Front

(4:16)  1. I Can't Help It
(4:59)  2. Água De Beber
(4:47)  3. Missing
(3:45)  4. Everything Falls Apart
(5:11)  5. Desafinado
(4:49)  6. It Ain't Over 'til It's Over
(4:58)  7. Song for My Father
(4:35)  8. Is This Love
(4:30)  9. Nature Boy
(4:59) 10. Mas que nada
(3:37) 11. Baby Come Home

Karen Lane originally from Perth Western Australia, moved to Sydney in1990. Her initial grounding was the graveyard shift in seedy Kings Cross, with 10 piece original soul funk band, The Hard Word. Her first foray into Jazz quickly followed with the formation of The Eclectics, a sophisticated lounge trio playing standards. She won coveted slots, including headline at 1993 Western Australia¹s York Jazz Festival, and support for the elite British jazz pianist, Julian Joseph, during his 1994 Australian tour, at Sydney¹s premier jazz club the Basement. In 1993 Lane formed her first original band Deluge and between 1994 and 1997 established her song writing and band leading credentials culminating in the debut of her original acid jazz band, Substance, at the prestigious Bacardi Club for the 1995 Sydney International Arts festival. During this period she also wrote and produced music for a NIDA (National Institute of Dramatic Art) dance production "Appetite" which was featured at the Melbourne International Arts Festival. From her experience as one of the few song writing and band leading females in an Australian music scene dominated by mass marketed, made to order young popstars, Lane conceived the idea that became Bloomers, an independent recording project for women singer songwriters. She secured government funding and recorded 17 women from around Australia. The Bloomers compilation CD was released with considerable national print, radio and TV coverage in August 1998 through Roadshow/Warners music. In 1997, before Lane relocated to Singapore she recorded her original album titled "Sheherazade 1001 nights", and was subsequently invited back to Australia to perform at the 1998 Go Girl! Festival celebrating International Women¹s Day, to a 10,000 strong crowd in The Domain Sydney. In Singapore Lane worked extensively singing sessions, writing and performing in various jazz clubs and hotels including the renowned Raffles Hotel. Since moving to London in 2000, she has steadily established a UK audience and released two UK band albums 'Once In A Lifetime' in 2002, and 'Taste' in 2004. After appearing succesfully as a duo with Paul Malsom, the UK guitarist, at The Sevenoaks Festival, they decided to record this album of their favourite songs from the live concert. https://store.cdbaby.com/cd/malsonlane

Personnel: Karen Lane - (vocals), Paul Malsom - (guitars), Nic France - (percussion), Jo Fooks - (saxophone).

Can't Help It

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Bob Brookmeyer - The Dual Role of Bob Brookmeyer

Styles: Trombone Jazz
Year: 1955
File: MP3@320K/s
Time: 39:47
Size: 91,4 MB
Art: Front

(4:40)  1. Rocky Scotch
(5:07)  2. Under the Lilacs
(5:49)  3. They Say It's Wonderful
(4:49)  4. Potrezebie
(5:46)  5. Revelation
(4:29)  6. Star Eyes
(4:25)  7. Nobody's Heart
(4:38)  8. Loup-Garou

This CD reissue has four selections apiece from two different bands, both of which feature subtle interplay and cool tones. Bob Brookmeyer plays valve trombone and piano on two songs apiece with his 1955 quartet, a group also including guitarist Jimmy Raney, bassist Teddy Kotick and drummer Mel Lewis. The other half of this disc is actually led by vibraphonist Teddy Charles who features Brookmeyer on both of his instruments along with bassist Teddy Kotick and drummer Ed Shaughnessy; Nancy Overton takes a vocal on "Nobody's Heart." Although the overall set is not all that essential, the music is pleasing and reasonably creative. ~ Scott Yanow http://www.allmusic.com/album/the-dual-role-of-bob-brookmeyer-mw0000203311

Personnel: Bob Brookmeyer (valve trombone, piano); Nancy Overton (vocals); Jimmy Raney (guitar); Teddy Charles (vibraphone); Mel Lewis, Ed Shaughnessy (drums).

The Dual Role of Bob Brookmeyer

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Steely Dan - Can't Buy A Thrill

Styles: Vocal And Guitar Jazz
Year: 1972
File: MP3@320K/s
Time: 41:16
Size: 96,4 MB
Art: Front

(5:57)  1. Do It Again
(3:10)  2. Dirty Work
(3:48)  3. A3 Kings
(4:12)  4. Midnite Crusier
(2:54)  5. Only A Fool Would Say That
(4:38)  6. Reelin'In The Years
(3:30)  7. Fire In The Hole
(4:22)  8. Brooklyn
(3:40)  9. Change Of The Guard
(5:00) 10. Turn That Heartbeat Over Again

Walter Becker and Donald Fagen were remarkable craftsmen from the start, as Steely Dan's debut, Can't Buy a Thrill, illustrates. Each song is tightly constructed, with interlocking chords and gracefully interwoven melodies, buoyed by clever, cryptic lyrics. All of these are hallmarks of Steely Dan's signature sound, but what is most remarkable about the record is the way it differs from their later albums. Of course, one of the most notable differences is the presence of vocalist David Palmer, a professional blue-eyed soul vocalist who oversings the handful of tracks where he takes the lead. Palmer's very presence signals the one major flaw with the album  in an attempt to appeal to a wide audience, Becker and Fagen tempered their wildest impulses with mainstream pop techniques. Consequently, there are very few of the jazz flourishes that came to distinguish their albums  the breakthrough single, "Do It Again," does work an impressively tight Latin jazz beat, and "Reelin' in the Years" has jazzy guitar solos and harmonies  and the production is overly polished, conforming to all the conventions of early '70s radio. Of course, that gives these decidedly twisted songs a subversive edge, but compositionally, these aren't as innovative as their later work. Even so, the best moments ("Dirty Work," "Kings," "Midnight Cruiser," "Turn That Heartbeat Over Again") are wonderful pop songs that subvert traditional conventions and more than foreshadow the paths Steely Dan would later take. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/cant-buy-a-thrill-mw0000195859

Personnel: Walter Becker (vocals, guitar, electric bass, bass guitar); Donald Fagen (vocals, piano, electric piano, organ, keyboards); David Palmer (vocals, keyboards); Jim Hodder (vocals, drums, percussion); Clydie King, Sherlie Matthews, Venetta Fields (vocals, background vocals); Jeff Baxter (guitar, steel guitar, Spanish guitar); Denny Dias (guitar, sitar, electric sitar); Elliott Randall (guitar); Jerome Richardson (saxophone, tenor saxophone); Snooky Young (flugelhorn, horns); Victor Feldman (keyboards, percussion); David Paich (keyboards); Shirley Matthews (background vocals).

Can't Buy A Thrill

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Ian & Sylvia - So Much For Dreaming

Styles: Vocal, Folk
Year: 1967
File: MP3@320K/s
Time: 38:48
Size: 89,0 MB
Art: Front

(2:56)  1. Circle Game
(2:58)  2. So Much For Dreaming
(3:51)  3. Wild Geese
(3:24)  4. Child Apart
(3:58)  5. Summer Wages
(2:35)  6. Hold Tight
(2:52)  7. Cutty Wren
(3:35)  8. Si Les Bateaux
(3:29)  9. Catfish Blues
(3:19) 10. Come All Ye Fair And Tender Ladies
(3:01) 11. January Morning
(2:45) 12. Grey Morning

Ian & Sylvia's adjustment to folk-rock was sometimes fine, sometimes awkward, and this was another inconsistent, though generally worthwhile, effort. Highlights include "Circle Game," one of the very first recorded covers of a Joni Mitchell composition. Tyson's "Wild Geese" and "Child Apart" count as some of their better unheralded tunes, and the occasional muted orchestration worked well on "Circle Game" and the melancholy title track. On the other hand, the attempts at blues were abominable, the traditional ballads anachronistic, and some of the material (especially Fricker's) undistinguished. ~ Richie Unterberger  http://www.allmusic.com/album/so-much-for-dreaming-mw0000643815

Personnel: Ian Tyson (vocals, guitar, autoharp); Sylvia (vocals); David Rae (guitar); Robert Bushnell (electric bass); Al Rogers (drums).

So Much For Dreaming

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Cathy Menezes - A Dream

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 51:52
Size: 119,7 MB
Art: Front

(5:06)  1. Waves of Seven
(5:48)  2. Don't Know Yet
(6:46)  3. Quiet Moments
(5:24)  4. A Dream
(6:17)  5. White Swan
(5:22)  6. Will You Be Here
(5:47)  7. Beauty of the Sea
(5:04)  8. Zoe
(6:13)  9. Summer Day

Debut,fully original album by singer, composer and pianist, with powerful melodies and lyrics in a unique blend of Latin, blues and smooth jazz performs with some of the great masters of music, Russell Ferrante, Hussain Jiffry, Mike Shapiro and many more. 2012 Outstanding Creative Performance Award winner, Cathy, has found her musicianship taking her to another artistic level. This debut album was collaborated by some of the greatest masters in music namely: 2014 Grammy Award winner Hussain Jiffry, Russell Ferrante, Mick Shapiro, Allan Hinds, JP Mouro, Satnam, Jackson, Scott Mayo and Gregory Manning. Her compositions provide soulful enticing Latin and jazz grooves infused with colourful melodic improvisations, songs which will no doubt take listeners on an amazing journey. https://store.cdbaby.com/cd/cathymenezes

A Dream

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Charnett Moffett - The Bridge

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 55:28
Size: 129,0 MB
Art: Front

(2:02)  1. Caravan
(3:26)  2. Eleanor Rigby
(1:56)  3. Black Codes
(3:01)  4. Fragile
(1:20)  5. Haitian Fight Song
(4:25)  6. Kalengo
(1:09)  7. Bow Song
(3:59)  8. Jousha Fought the Battle of Jericho
(3:07)  9. Skip Hop
(1:45) 10. The Slump
(4:18) 11. Monk Medley
(2:06) 12. Oversun
(1:58) 13. Swinging Etude
(4:08) 14. Walk Spirit, Talk Spirit
(3:43) 15. Truth
(2:41) 16. The Bridge (Solo Bass Works)
(0:44) 17. Nature Boy
(2:06) 18. Things Ain't What They Used To Be
(2:55) 19. All Blues
(4:27) 20. Free Your Mind

The sound of Charnett Moffett's bass resonates almost instantly straight to the depths of the soul. Over his career, Moffett has played in a tremendous variety of settings and explored seemingly every avenue, alley, and obscure landscape of both the upright and electric bass. Now with his first solo bass CD, The Bridge, audiences can experience Moffett's artisanship in its most concentrated form. Comprised of 20 pieces, The Bridge covers a lot of territory, acting as a portrait of Moffett's musical experience. Included on the album are touchstones to the many stages of his long career, from his early work with Wynton Marsalis to his run with the Manhattan Jazz Quartet, to his explosive experiments as a bandleader, as well as his partnership with McCoy Tyner. However, though touching on these various aspects of his development, it is not a simple march through time, but instead a distillation of the various components into a captivating whole. Moffett begins with a blistering take on "Caravan," followed immediately by "Eleanor Rigby" which in Moffett's hands undergoes a kind of sublimation that exposes the devastating salience of the original's commentary on the human condition. This ability to pair down and purify represents one of Moffett's signature abilities which he applies throughout The Bridge. A second powerful example is his brief 44-second rendition of "Nature Boy." Boldly approaching this classic, Moffett inverts the more usual jazz methodology of expanding on a tune's basic parts to instead render it into its most essential, emotive elements.

The remaining 18 selections continue this pattern, tapping both icons of the jazz repertoire, like Charles Mingus' "Haitian Fight Song" and a medley of Thelonious Monk works, and pop tunes like Sting's "Fragile." Moffett also contributes 8 original compositions that provide some additional standout moments, such as the Middle Eastern-themed piece "Kalengo" on which Moffett integrates pizzicato and bowed techniques in a virtuoso display. In fact, Moffett's bow work on this and several other pieces, including Miles Davis' "All Blues" and the closing, electric-tinged "Free Your Mind," represent some of the most redolent passages on the album. No recording can capture the distinct and uncannily haunting sound of Moffett's tone when experienced live, but The Bridge is an exceptionally actualized statement delivered by the practiced hand of a master during a resurgence of his creative powers. (It should be noted that The Bridge will be followed closely by an ensemble album, and was previewed by a marathon run of solo performances in New York.) In the end, as impressive as Moffett's technical facility on the bass and compositional talents are, it is his emotive clarity, the ability to cut to the core, that ultimately captures the imagination and moves the listener's inner being. His is a rare capacity to reach out sometimes with only one perfectly articulated note to touch the deepest aspects of our spirits and carry us forward. ~ Franz Matzner https://www.allaboutjazz.com/the-bridge-charnett-moffett-motema-music-review-by-franz-a-matzner.php
 

Personnel: Charnett Moffett: Bass

The Bridge

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Ray Brown - Bass Hit!

Styles: Jazz, Bop
Year: 1999
File: MP3@320K/s
Time: 52:38
Size: 124,5 MB
Art: Front

(5:04)  1. Blues For Sylvia
(4:00)  2. All Of You
(4:28)  3. Everything I Have Is Yours
(3:42)  4. Will You Still Be Mine
(4:52)  5. Little Toe
(4:46)  6. Alone Together
(2:30)  7. Solo For Unaccompanied Bass
(4:09)  8. My Foolish Heart
(5:36)  9. Blues For Lorraine
(2:50) 10. After You've Gone
(4:49) 11. After You've Gone (Complete Takle)
(3:01) 12. After You've Gone
(2:44) 13. After You've Gone (Complete Takle)

Since he played on some of the earliest Dizzy Gillespie and Charlie Parker records in 1945, Brown is regarded as the father of modern bass playing. He made his name at that time with the groundbreaking role he played on Gillespie's One Bass Hit. He has been a leading virtuoso for half a century and his tone and dexterity are still something to wonder at, as was shown in an unforgettable master class that he gave to students for a BBC television broadcast. His "Solo for Unaccompanied Bass" here is another dazzling performance. Elsewhere, he's in an unusual setting before an all-star West Coast big band playing a set of arrangements by Marty Paich. Brown bites powerfully into his featured role, notably in an incredibly fast "After You've Gone," and he's helped by key soloists like trumpeter Harry "Sweets" Edison (reprising his role on Sinatra's albums) and clarinetist Jimmy Giuffre. If you're a bass player, be careful with this album. It might make you want to give up. ~ Steve Voce https://www.amazon.com/Bass-Hit-Ray-Brown/dp/B00000JNP2

Personnel: Ray Brown (bass); Marty Paich (arranger, conductor); Jack Dulong, Herb Geller (alto saxophone); Jimmy Giuffre (tenor saxophone, clarinet); Bill Holman (tenor saxophone); Harry "Sweets" Edison, Conrad Gozzo, Ray Linn, Pete Candoli (trumpet); Herbie Harper (trombone); Jimmie Rowles (piano); Herb Ellis (guitar); Mel Lewis, Alvin Stoller (drums).

Bass Hit!

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The Isley Brothers & Santana - Power Of Peace

Styles: Vocal, Funk
Year: 2017
File: MP3@320K/s
Time: 66:08
Size: 151,9 MB
Art: Front

(3:26)  1. Are You Ready
(4:23)  2. Total Destruction to Your Mind
(5:13)  3. Higher Ground
(7:09)  4. God Bless the Child
(5:34)  5. I Remember
(5:22)  6. Body Talk
(7:03)  7. Gypsy Woman
(4:04)  8. I Just Want to Make Love to You
(3:12)  9. Love, Peace, Happiness
(5:29) 10. What the World Needs Now Is Love Sweet Love
(4:02) 11. Mercy Mercy Me (The Ecology)
(6:27) 12. Let the Rain Fall On Me
(4:37) 13. Let There Be Peace On Earth

Supergroup pairings rarely work. Either there are too many egos involved or the magic promised on paper doesn’t materialize because there are too many cooks in the kitchen, or record label and managerial bluster get in the way of actual spontaneity. That's not the case with Power of Peace, delivered by the Santana and Isley families in a Las Vegas studio without prior rehearsal. The material on this 13-song set is comprised mostly of iconic soul, funk, blues, and R&B covers. Carlos Santana and Ron Isley are joined by drummer Cindy Blackman Santana and Ernie Isley, the Santana road band, and a backing chorus of Kandy and Tracy Isley as well as Kimberley Johnson and Eddie Levert. "Are You Ready," the first of two Chambers Brothers tunes, opens the set with a Karl Perazzo conga workout followed by a funky bassline and Ernie on manic wah-wah guitar. Cindy's breaks and Carlos' leads push Ron to overdriven rock intensity with the backing chorus supports. It's a hard groover that introduces a rocking soul rave-up on Swamp Dogg's "Total Destruction to Your Mind." The pairing of Ron and Carlos here is fantastic. If it doesn’t get you on your feet, you're already dead. Things get more intense on Stevie Wonder's "Higher Ground" with Ernie evoking Jimi Hendrix's spirit in his fills and solo, while Cindy's drumming and Perazzo's whomping congas push it into the red. Eddie Kendricks' burner "Body Talk" gets the same treatment. There are some ballads here, too. Ron delivers a beautiful adaptation of Billie Holiday's "God Bless the Child" with Cindy on backing vocals. Santana's melodic presentation is matched by Ernie's tough blues phrasing. The lone original, "I Remember," is a gorgeous, bittersweet samba written and sung by Cindy; it's the only tune here that retains its restraint throughout (though Carlos is tempted to shred near the end). On Curtis Mayfield's "Gypsy Woman," Ron offers his sweetest falsetto amid a humid, atmospheric, Latin soul backdrop. Blues, hard rock, and funk collide in Willie Dixon's "I Just Want to Make Love to You," with Ernie shining in a burning solo. Only the Bacharach-David standard "What the Worlds Needs Now" and Leon Thomas' post-bop "Let the Rain Fall on Me" falter due to overly reverent presentations. That said, the gospelized Latin soul in Marvin Gaye's "Mercy Mercy Me (The Ecology)" is a monster. The set closes with a complete reinvention of "Let There Be Peace on Earth," offering a stellar portrait of what the Santana band does well (especially with an ace guitarist like Ernie aboard). Ron, whose voice is undiminished by time, soars above the band and chorus to end it all on a spiritual tip. Power of Peace is loose, but everybody brought their chops to the party. This is what happens when great musicians gather simply to see what happens and enjoy one another's company. ~ Thom Jurek http://www.allmusic.com/album/power-of-peace-mw0003062166

Personnel: Ronald Isley (vocals); Carlos Santana (guitar, percussion, background vocals);  Mathews, Jim Reitzel (keyboards); Karl Perazzo (percussion).

Power Of Peace

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