Harry Belafonte - Belafonte Sings The Blues

Styles: Vocal
Year: 1958
File: MP3@320K/s
Time: 45:26
Size: 104,8 MB
Art: Front

(3:42)  1. A Fool For You
(4:20)  2. Losing Hand
(4:36)  3. One For My Baby
(3:31)  4. In The Evenin' Mama
(2:56)  5. Hallelujah I Love Her So
(4:35)  6. The Way That I Feel
(5:20)  7. Cotton Fields
(5:07)  8. God Bless The Child
(2:46)  9. Mary Ann
(3:43) 10. Sinner's Prayer
(4:45) 11. Fare Thee Well

After flirting with traditional African-American material in his previous albums, Belafonte, for the first time, devotes an entire album to the blues. However, of the eleven songs, only two could be classified as traditional blues: "In the Evenin' Mama" and "Cotton Fields," the latter given a five minute treatment. Belafonte would take this song on the road as part of his live act for the next decade. Of the other songs, three were covers of Ray Charles standards ("A Fool For You," "Hallelujah I Love Her So," "Mary Ann"). Another highlight is Belafonte's rendition of Billie Holiday's "God Bless the Child." With few exceptions, the entire album is understated and not as exciting or riveting as other Belafonte records. Still, it's solid listening, and taken track by track, thoughtful performances. Footnote: this was the first Belafonte album recorded in stereo. Some releases feature a thick, dark blue spine. ~ Cary Ginell http://www.allmusic.com/album/belafonte-sings-the-blues-mw0000863291

Personnel:  Harry Belafonte – vocals

Belafonte Sings The Blues

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Steely Dan - The St. Louis Toodle-Oo

Styles: Vocal And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 143:35
Size: 334,2 MB
Art: Front

( 7:56)  1. The Royal Scam/Bad Sneakers/Aja
( 5:24)  2. Green Earrings
( 5:29)  3. Bodhisattva
( 6:12)  4. I.G.Y. (What a Beautiful World)
( 7:14)  5. Josie
( 6:28)  6. Hey Nineteen
( 4:32)  7. Book of Liars
( 6:33)  8. Chain Lightning
( 3:45)  9. Introductions
( 3:56) 10. Green Flower Street
( 6:51) 11. Home at Last
( 4:14) 12. Black Friday
( 8:11) 13. Deacon Blues
( 6:40) 14. Tomorrow's Girl
( 6:48) 15. Babylon Sisters
( 7:27) 16. Reelin' in the Years
( 6:12) 17. Fall Of '92
( 4:39) 18. Peg
( 6:28) 19. Third World Man
(13:36) 20. Countermoon
( 8:17) 21. My Old School
( 6:33) 22. FM (No Static at All)

Following the tumultuous albeit fruitful recording of their 1980 album Gaucho, and their subsequent breakup soon thereafter, the next decade was somewhat quiet for Donald Fagen and Walter Becker, the gifted musical duo behind Steely Dan. Despite a number of producer credits to their respective names, the only releases that appeared with either as featured artist were two Donald Fagen solo records. The first, The Nightfly, came out to rapturous critical and commercial success, going Platinum on both sides of the Atlantic. Meanwhile, Becker was listed as an as an official member of China Crisis on their 1985 album Flaunt the Imperfection. However the pair had reconciled their differences by the end of the 1980s with Becker playing on and producing Fagen s 1993 album Kamakiriad, which received praise from critics but failed the match its predecessor sales-wise. Following this semi-joint venture, Steely Dan reformed for a tour the same year. Becker and Fagen had retired from live performance in 1974 to concentrate on writing and recording, so their 93 jaunt was something of a treat and a rare opportunity for long term fans. One of the 30 dates performed in the US this time round took place at the 20,000-capacity Riverport Amphitheatre in Maryland Heights, Missouri on 1st September 1993. Featuring a rich mixture of Dan classics with a few solo cuts included too, this set, recorded for live FM broadcast, finds the group in superb form and is now featured in its fully remastered entirety on this double CD set. https://www.spincds.com/time-out-of-mind-dvd-53250

The St. Louis Toodle-Oo1

The St. Louis Toodle-Oo2

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Gene Harris - Ballad Essentials

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 67:26
Size: 155,1 MB
Art: Front

(5:59)  1. Sweet And Lovely
(4:37)  2. Nobody Knows You When You're Down And Out
(6:29)  3. Until The Real Thing Comes Along
(6:26)  4. This Masquerade
(5:13)  5. At Last
(6:46)  6. Everything Happens To Me
(6:35)  7. Black And Blue
(5:26)  8. When You Wish Upon A Star
(5:02)  9. You Don't Know What Love Is
(8:05) 10. That's All
(6:43) 11. Angel Eyes

Gene Harris had no peer as a blues pianist. Just as Fred Hersch is the king of ballads, Harris was the king of the blues. But let’s consider his ballad prowess: he recorded many, and some of his best are collected on Concord Jazz’s newest addition to the Ballad Essentials series.  Harris manages to infuse all of his ballad performances with enough blue notes to endow the pieces with his unmistakable personality. That is not such a challenge with pieces like "Nobody Knows When You're Down and Out" while "When You Wish Upon a Star" might be a bit tricky in less talented hands. But his are not less talented hands. Mr. Harris has recorded copiously for Concord Jazz, providing a large library of songs from which to choose. His performance with Scott Hamilton on "At Last" is telepathic and with Brother Jack McDuff on "You Don’t Know What Love Is" Harris meets a blues soulmate. But, in the end, it is all Gene Harris. Mr. Harris remains one of the most accessible jazz pianists ever; and we, the listeners, are fortunate that he has left such a broad recorded legacy for us to enjoy. Ballad Essentials is a sensitively assembled collection revealing an under-appreciated site of Gene Harris. 

~ C.Michael Bailey https://www.allaboutjazz.com/gene-harris-ballad-essentials-gene-harris-review-by-c-michael-bailey.php

Personnel: Gene Harris (piano); Scott Hamilton (tenor saxophone); Jack McDuff (Hammond B-3 organ); Ron Eschete (guitar); Lester Hughes, Paul Humphrey (bass); Harold Jones (drums).

Ballad Essentials

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Jack McDuff - Sophisticated Funk

Styles: Piano, Jazz Funk
Year: 1976
File: MP3@320K/s
Time: 39:57
Size: 92,5 MB
Art: Front

(5:57)  1. Dit Da Dit
(6:42)  2. Ju Ju
(4:44)  3. To Be Named Later
(4:46)  4. Summer Dream
(3:25)  5. Jack's Boogie
(5:46)  6. Mini Pads
(5:13)  7. Electric Surf Board
(3:21)  8. Mannix Theme

Sophisticated...maybe. Funky...not so much. This forgettable effort from Jack McDuff veers far too close to smooth jazz territory for comfort swapping his signature Hammond B-3 for keyboards, McDuff settles for a fusion sound suggesting a particularly tepid CTI session, with none of the swagger and groove of his most memorable records. Saxophonist/flutist Joe Harrell is similarly tentative, although one must blame Billy Jones' overly slick arrangements there's really not much chance of salvaging cuts like "Mini Pads" and "'Mannix' Theme." Definitely don't judge this one by its lurid cover it's as tame as a de-clawed house cat. ~ Jason Ankeny http://www.allmusic.com/album/sophisticated-funk-mw0001002142

Personnel:  Jack McDuff - organ, piano, electric piano;  Joe Farrell - saxophones, flute;  Brian Cuomo – piano;  Robert Banks, Walter Morris – guitar;  Billy Jones - guitar, percussion;  Frank Prescod - electric bass;  Joe Corsello, Ted McKinsey, Clarence Oliver, Arnold Ramsey, Scott Schoer – drums;  Craig Derry, Scott Saunders - congas, percussion

Sophisticated Funk

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Phil Woods - Mile High Jazz: Live in Denve

Styles: Saxophone Jazz 
Year: 1996
File: MP3@256K/s
Time: 63:53
Size: 117,2 MB
Art: Front

(10:40)  1. Blues for K.B.
(12:30)  2. Song for Sass
(10:27)  3. Harlem Nocturne
( 7:12)  4. Godchild
(11:47)  5. Walkin' Thing
(11:16)  6. Clairevoyance

Altoist Phil Woods and his 1996 quintet (which includes trumpeter Brian Lynch, pianist Bill Charlap, bassist Steve Gilmore and drummer Bill Goodwin) jam on six lengthy numbers on this live performance from Denver. Highlights include the exciting up-tempo "Blues For K.B.," George Wallington's classic "Godchild" and Benny Carter's relaxed "Walkin' Thing." With Lynch (who successfully keeps up with Woods) and Charlap contributing some fine solos, Phil Woods has come up with another highly recommended and creative combo date that keeps the spirit of bop alive while avoiding the cliches. ~ Scott Yanow http://www.allmusic.com/album/mile-high-jazz-mw0000086949

Personnel: Phil Woods (alto saxophone); Brian Lynch (trumpet); Bill Charlap (piano); Steve Gilmore (bass); Bill Goodwin (drums).

Mile High Jazz: Live in Denve

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Bob Mintzer - Art Of The Big Band

Styles: Saxophone Jazz, Big Band
Year: 1991
File: MP3@320K/s
Time: 62:25
Size: 143,3 MB
Art: Front

(4:51)  1. Without A Song
(5:04)  2. Brazilian Affair
(7:25)  3. Christopher Columbus
(6:30)  4. Easy Living
(7:59)  5. Art Of The Big Band
(6:47)  6. Moonlight Serenade
(6:44)  7. Elvin's Mambo
(4:44)  8. Weird Blues
(7:57)  9. Paul's Call
(4:20) 10. But Not For Me

This big-band date by Bob Mintzer from the early '90s utilizes some of the Big Apple's top available musicians of the era, including trumpeters Marvin Stamm and Randy Brecker, saxophonists Scott Robinson and Roger Rosenberg (both of whom double on clarinet), and pianist Phil Markowitz. Mintzer has moved freely between contemporary and mainstream jazz depending on the record date and personnel, but on this DMP release he incorporates a bit from each style. At times that's a problem, because straight-ahead fans will find the smooth jazz-like rhythm section in the standard "Without a Song" rather lame compared to the writing for the brass and reeds. Fortunately, when electric bassist Lincoln Goines is replaced by acoustic bassist Michael Formanek, as in "Christopher Columbus" (where Robinson swings like mad on tenor) and Mintzer's inventive chart of "Easy Living," all is well. The originals are a mixed bag, with the dynamic "Art of the Big Band" and the tricky "Weird Blues" being especially noteworthy. ~ Ken Dryden http://www.allmusic.com/album/the-art-of-the-big-band-mw0000674388

Personnel:  Acoustic Bass – Michael Formanek;  Arranged By – Bob Mintzer;  Bass Trombone – David Taylor;  Clarinet – Roger Rosenberg, Scott Robinson;  Congas – Frankie Malabe;  Drums – John Riley (2) (tracks: 5, 9, 10), Peter Erskine;  Electric Bass – Lincoln Goines;  Flute – Lawrence Feldman, Peter Yellin;  Guitar – Chuck Loeb;  Piano – Phil Markowitz;  Saxophone – Bob Mintzer, Lawrence Feldman, Peter Yellin, Roger Rosenberg, Scott Robinson (2);  Trombone – Dave Bargeron, Keith O'Quinn, Matt Finders (tracks: 2, 3, 8, 9), Mike Davis;  Trumpet, Flugelhorn – Laurie Frink, Marvin Stamm, Randy Brecker, Bob Millikan

Art Of The Big Band

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Liane Carroll - The Right To Love

Styles: Vocal And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 46:37
Size: 107,9 MB
Art: Front

(5:37)  1. Skylark
(5:34)  2. The Right To Love
(3:21)  3. It's A Fine Line
(3:43)  4. If You Go Away
(7:43)  5. You Don't Know What Love Is
(4:22)  6. Goin' Back
(5:17)  7. Lately
(3:51)  8. Georgia
(3:03)  9. In The Neighbourhood
(4:02) 10. I Get Along Without You Very Well

Liane Carroll’s talents, as singer, pianist and all-round musical force of nature, seemed to defy all efforts to capture them successfully on record. Until, that is, she began working with producer James McMillan. This, their fourth album together, displays a characteristic mixture of deceptive simplicity and emotional depth. Following the loose theme of attitudes to love, Carroll calls on songs by, among others, Stevie Wonder, Tom Waits, Jacques Brel and Hoagy Carmichael, whose I Get Along Without You Very Well provides the most touching moment. The arrangements and playing, notably Mark Jaimes (guitar) and Kirk Whalum (tenor sax), are superb. https://www.theguardian.com/music/2017/jul/23/liane-carroll-right-to-love-review-jazz

Personnel:  Liane Carroll (piano, vocals);  Mark Edwards (piano);  Malcolm Edmonstone (piano);  Mark Jaimes (guitars);  Kirk Whalum (saxophone); Loz Garratt (bass);  Roger Carey (bass);  Ralph Salmins (drums);  Russell Field (drums);  James McMillan (trumpet).

The Right To Love

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Anne Shelton - I'll Be Seeing You

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 49:32
Size: 120,4 MB
Art: Front

(3:04)  1. I'll Never Smile Again
(3:04)  2. I'll Be Seeing You
(3:08)  3. There Goes That Song Again
(3:39)  4. Fools Rush In
(3:00)  5. I Don't Want To Walk Without You
(3:02)  6. You'd Be So Nice To Come Home To
(2:46)  7. Coming In On A Wing And A Prayer
(3:04)  8. The Last Time I Saw Paris
(2:57)  9. I Don't Want To Set The World On Fire
(3:11) 10. A Nightingale Sang In Berkeley Square
(3:05) 11. Taking A Chance On Love
(3:25) 12. Only You
(2:43) 13. Daddy
(3:45) 14. My Yiddishe Momma
(2:47) 15. Until You Fall In Love
(2:45) 16. St Louis Blues

Although singer Anne Shelton issued several recordings throughout her career, she is best-known for generously touring Army, Navy, and Air Force bases. Born in Dulwich, London, England, on November 10, 1923, Shelton began singing at the age of 13, and by 15 had her own recording contract as a solo artist. In 1942, Shelton began playing military bases across England and as her popularity grew, was offered her own radio program, Calling Malta, which remained on the air for five years. In 1944, Shelton was invited to sing with the Glenn Miller Orchestra, and although some of these shows were recorded, none have ever surfaced in their entirety. Miller invited Shelton to stay on with the band and travel to Versailles for a series of shows; she had to turn him down due to prior commitments in Britain, which turned out to be a blessing in disguise as Miller's plane crashed shortly after the shows. But Shelton soon performed with another American who had come over to England: Bing Crosby. Crosby and Shelton appeared on the Variety Bandbox radio show together and afterwards played a show together, duetting on the songs "Easter Parade" and "I'll Get By." In 1949, Shelton began to make headway stateside, scoring a pair of hits with "Be Mine" and "Galway Bay," which resulted in her inaugural U.S. tour two years later (all the while continuing to entertain the troops). But it was in her native land where Shelton's popularity was the greatest, as she scored a number one hit with "Lay Down Your Arms" in September of 1956, remaining atop the U.K. singles charts for a solid four weeks. Shelton was never able to follow up her big hit, but remained a popular concert attraction nonetheless, performing shows straight up to her death on July 31, 1994. Following her death, numerous compilations saw the light of day, including such titles as Early Years: Lili Marlene and At Last: The Very Best. ~ Greg Prato https://itunes.apple.com/us/album/ill-be-seeing-you/id405843113

I'll Be Seeing You

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Kirk Lightsey - Kirk Lightsey 1

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 38:38
Size: 89,6 MB
Art: Front

(4:40)  1. Fee Fi Fo Fum
(5:29)  2. Habiba
(5:52)  3. Trinkle Tinkle
(3:51)  4. Moon Ra
(6:18)  5. Fresh Air
(7:05)  6. Wild Flower
(5:20)  7. Never Let Me Go

Long a top interpreter of modern mainstream jazz, pianist Kirk Lightsey was well recorded by the new Sunnyside label in the early 1980s. This solo date features Lightsey (who plays a little bit of flute on "Fresh Air") playing two originals, a pair of songs by Wayne Shorter (including "Fee-Fi-Fo-Fum"), Thelonious Monk's tricky "Trinkle Tinkle," an obscurity, and "Never Let Me Go." The pianist is in top form throughout the well-paced program. ~ Scott Yanow http://www.allmusic.com/album/lightsey-1-mw0000109671

Personnel: Kirk Lightsey (piano).

Kirk Lightsey 1

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Mel Tormé - Uncollected & Rare (1960-1971)

Styles: Vocal
Year: 1963
File: MP3@320K/s
Time: 52:59
Size: 134,5 MB
Art: Front

(2:18)  1. Wayfaring Stranger
(2:30)  2. Walk Like A Dragon
(1:33)  3. I'm Shooting High
(2:13)  4. These Desperate Hours
(2:44)  5. Her Face
(2:51)  6. Yes, Indeed!
(3:01)  7. Walkin' Shoes
(2:25)  8. You Belong To Me
(2:20)  9. Cast Your Fate To The Winds
(1:50) 10. Gravy Waltz
(2:37) 11. My Gal's Back In Town
(2:21) 12. The Gift
(2:27) 13. You Can't Love 'em All
(4:52) 14. All That Jazz
(2:01) 15. Didn't We
(2:23) 16. Five-Four
(2:46) 17. I Cried For You
(2:59) 18. Morning Star
(3:15) 19. Phone Call To The Past
(3:21) 20. Whose Garden Is This

Melvin Howard Tormé (September 13, 1925 – June 5, 1999), nicknamed The Velvet Fog, was an American musician, best known as a singer of jazz standards. He was also a jazz composer and arranger, drummer, an actor in radio, film, and television, and the author of five books. He composed the music for "The Christmas Song" ("Chestnuts Roasting on an Open Fire") and co-wrote the lyrics with Bob Wells. https://en.wikipedia.org/wiki/Mel_Torm%C3%A9

Thank You Scoredaddy!!

Uncollected & Rare (1960-1971)

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Dave Stryker - Strykin' Ahead

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 59:45
Size: 145,3 MB
Art: Front

(5:59)  1. Shadowboxing
(6:39)  2. Footprints
(5:50)  3. New You
(5:33)  4. Passion Flower
(6:12)  5. Strykin' Ahead
(7:15)  6. Blues Down Deep
(8:12)  7. Joy Spring
(7:32)  8. Who Can I Turn To
(6:27)  9. Donna Lee

Hot on the heels of his 2016 release, the soul and rock infused Eight Track II comes Dave Stryker's punningly titled Strykin' Ahead with a mix of standards and Stryker originals. Following the lively opener, "Shadowboxing," a Stryker original, comes a rather more sedate version of Wayne Shorter's "Footprints" followed by Stryker's "New You" in which both Steve Nelson and Jared Gold provide imaginative, swinging solos backed by McClenty Hunter's solid drumming. A dreamy interpretation of Billy Strayhorns "Passion Flower" is given a subtle bossa nova beat by Hunter. "Strykin' Ahead" is a helter skelter affair where Stryker shows his mettle with a flurry of fast and fluid notes breaking out immediately after the head. To some extent Stryker sounds not unlike the late Johnny Smith in his considered and articulate style, which is no bad thing, but Stryker has his own unique voice too. Another Stryker original is the slow "Blues Down Deep" where the guitarist wrings out restrained emotion from his guitar. Clifford Brown's "Joy Spring" is a perfect example of just how well the organ, vibes and guitar gel together propelled by highly effective yet unobtrusive drums.  "Who Can I Turn To" by Leslie Bricusse and Anthony Newley is afforded a delicate and respectful interpretation but Charlie Parker's (or Miles Davis's, depending on who you read) "Donna Lee" is a lively version with the guitar and vibes playing the famous boppy melody in unison, no easy task but it's executed with aplomb. Stryker's playing is characterised by warmth and articulacy and those traits extend to the whole of this very well-produced album. ~ Roger Fabey https://www.allaboutjazz.com/strykin-ahead-dave-stryker-strikezone-review-by-roger-farbey.php

Personnel: Dave Stryker: guitar; Steve Nelson: vibraphone; Jared Gold: organ; McClenty Hunter: drums.

Strykin' Ahead

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Bill Perkins & Richie Kamuca - Tenors Head On

Styles: Saxophone, Clarinet And Flute Jazz
Year: 1956
File: MP3@320K/s
Time: 62:34
Size: 143,6 MB
Art:

(4:37)  1. Cotton Tail
(5:57)  2. I Want A Little Girl
(4:30)  3. Blues For Two
(4:40)  4. Indian Summer
(5:06)  5. Don't Be That Way
(5:38)  6. Oh! Look At Me Now
(5:02)  7. Spain
(4:25)  8. Pick A Dilly
(4:32)  9. Solid De Sylva
(5:10) 10. Just Friends
(4:32) 11. All Of Me
(3:19) 12. Limehouse Blues
(5:02) 13. Sweet And Lovely

The Lester Young-influenced tenors of Bill Perkins (who later developed a more Coltrane-oriented style) and Richie Kamuca are matched on this 1956 set. The music comprises hard-swinging but light-toned run-throughs on standards with the two complementary tenors both in excellent form. The material is taken from two former LPs and feature a pair of all-star rhythm sections (pianist Pete Jolly, bassist Red Mitchell, drummer Stan Levey, or pianist Hampton Hawes, Mitchell, and drummer Mel Lewis). Lovers of bebop and solidly swinging music will find much to enjoy on the set including some rare (if conventional) bass clarinet and flute from Perkins on a colorful version of "Sweet and Lovely." ~ Scott Yanow http://www.allmusic.com/album/tenors-head-on-mw0000277343

Personnel:  Tenor Saxophone, Bass Clarinet, Flute – Bill Perkins;  Tenor Saxophone – Richie Kamuca;  Bass – Red Mitchell;  Drums – Mel Lewis (tracks: 9 to 13), Stan Levey (tracks: 1 to 8);  Piano – Hampton Hawes (tracks: 9 to 13), Pete Jolly (tracks: 1 to 8)

Tenors Head On

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Diana Panton - I Believe in Little Things

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 54:48
Size: 125,9 MB
Art: Front

(3:58)  1. In a World of My Own
(5:37)  2. Alice in Wonderland
(4:15)  3. Pure Imagination
(3:31)  4. Imagination
(4:42)  5. Sing
(3:19)  6. I’m Going to Go Back There Someday
(3:19)  7. The Rainbow Connection
(2:48)  8. Little Things
(5:48)  9. When You Wish Upon a Star
(2:12) 10. Halfway Down the Stairs
(3:38) 11. Everybody Sleeps
(4:53) 12. Sleep Is a Precious Thing
(4:14) 13. Hushabye Mountain
(2:26) 14. Slumber My Darling

I Believe in Little Things highlights Diana Panton's enchanting vocals on obscure gems and children's classics from Disney, Sesame Street, Willa Wonka and the Chocolate Factory with a unique jazz twist. Don Thompson, Reg Schwager and Coenraad Bloemendal provide delightful accompaniment to Diana's sweet voice. Although destined for children, this album speaks to the child in all of us. There is a carefree aura of freedom and hope in this gentle musical world where dreams can come true. ~ Editorial Reviews https://www.amazon.com/Believe-Little-Things-Diana-Panton/dp/B013RCQROU

Personnel:  Vocals – Diana Panton;  Bass, Piano, Vibraphone – Don Thompson;  Cello – Coenraad Bloemendal;  Guitar – Reg Schwager

I Believe in Little Things

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Kirk Lightsey Quartet - First Affairs

Styles: Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 42:33
Size: 99,5 MB
Art: Front

(5:52)  1. Eighty One
(5:12)  2. From Dream To Dream
(9:58)  3. Habiba
(6:00)  4. Blues On The Corner
(3:10)  5. One Finger Snap
(4:53)  6. Up Jumped Spring
(7:24)  7. For Albert

A pianist who is not a trendsetter but is consistently excellent, Kirk Lightsey long ago developed his own sound within the hard bop tradition. He started playing piano when he was five, although he also played clarinet while in high school. Lightsey worked in Detroit and California in the early '60s, often accompanying singers. He gained some attention in 1965 when he recorded with Sonny Stitt and was on five Prestige records with Chet Baker. However, Lightsey mostly had low-profile gigs until he toured with Dexter Gordon (1979-1983) and became part of the Leaders (starting in the late '80s). Kirk Lightsey has recorded with Jimmy Raney, Clifford Jordan, Woody Shaw, David Murray, and Harold Land, among others, and has led his own sessions for Criss Cross and Sunnyside, including piano duets with Harold Danko. He released the duo album, The Nights of Bradleys with bassist Rufus Reid on Sunnyside in 2004. ~ Scott Yanow http://www.allmusic.com/artist/kirk-lightsey-mn0000101038/biography

Personnel:  Kirk Lightsey – piano;  Santi Debriano – bass;  Eddie Gladden – drums;  Jerry Gonzalez - congas

First Affairs

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Taylor Eigsti - Daylight at Midnight

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 56:03
Size: 128,7 MB
Art: Front

(5:56)  1. Daylight
(6:39)  2. Magnolia
(4:56)  3. The Art Teacher
(5:31)  4. The Water
(3:28)  5. Pink Moon
(4:18)  6. Little Bird
(3:03)  7. Secreto
(4:41)  8. Chaos
(4:00)  9. Between the Bars
(7:36) 10. Speaking Song
(5:50) 11. Midnight After Noon

It's official: pianist Taylor Eigsti has finally outgrown his "prodigy" label.  At 26, with two Concord CDs and numerous sideman recordings behind him, Eigsti has finally made the artistic statement he's intended since his career began at the age of 11. Raised on the American songbook, and indoctrinated early into concerns about the continued viability of jazz, Eigsti has always wanted to create new audiences by embracing the favorite material of the iPod generation. In his previous CDs he has covered Hacke Bjorksten and The Gels, as well as recording his own "Fallback Plan Suite," in three movements, on Let it Come to You (Concord, 2008). With Daylight at Midnight, Eigsti goes even further, not only interpreting contemporary artists like Coldplay, Rufus Wainwright, MuteMath and Imogen Heap, but featuring a vocalist for the first time: the transcendentally pure and soulful Becca Stevens, with whom he wrote two of the songs. He also plays with the instrumentation adding Fender Rhodes, Rhodes PianoBass, electric piano and Melliotron samples and mixes the terrific trio tracks (with bassist Harash Rhagavan and drummer Eric Harland) with a duo featuring long-time colleague and friend, the wonderful guitarist Julian Lage. Eigsti's powerful technique always informs his playing, but on this recording the spotlight is on his musical range. Especially notable is the one solo track ("Secreto"), which is simple and elegant, yet deeply moving a difficult combination for players of any age. For the rest, however unfamiliar Eigsti's selections may be to a jazz audience, his love for melody and his deep and expanding artistry are always evident. The side effect of introducing jazz to a younger audience is to introduce the, well, more mature audience to the newer material. It works so beautifully both ways that Daylight at Midnight may finally make Taylor Eigsti as widely-known as he deserves to be, as consummate player, composer, and now songwriter and ambassador as well. ~ Dr Judith Schlesinger https://www.allaboutjazz.com/daylight-at-midnight-taylor-eigsti-concord-music-group-review-by-dr-judith-schlesinger.php

Personnel: Taylor Eigsti: piano, rhythm piano, Fender Rhodes, Wurlitzer electric piano, Melliotron samples; Harish Raghavan: acoustic and electric bass; Eric Harland: drums; Julian Lage: guitars; Becca Stevens: vocals.

Daylight at Midnight

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Andrew Hill - Point of Departure

Styles: Piano Jazz
Year: 1964
File: MP3@320K/s
Time: 50:59
Size: 116,9 MB
Art: Front

(12:18)  1. Refuge
( 7:05)  2. New Monastery
( 9:49)  3. Spectrum
( 4:12)  4. Flight 19
( 3:49)  5. Flight 19 - alternate take
( 6:43)  6. Dedication
( 7:01)  7. Dedication - alternate take

The folks at Music Matters have been reissuing classic Blue Note albums of the 1950s and 1960s at an aggressive clip, and have been careful to include virtually every style of music the label recorded, including some of its more challenging material. Pianist Andrew Hill's Point of Departure (1964) will never be mistaken for light cocktail jazz, but it's inclusion in this reissue series displays Music Matters' commitment to more adventurous material. In 1964, the term avant-garde could have been applied to any number of different musical angles in jazz. The free experiments of John Coltrane and Ornette Coleman, with their pure emotional howling set within very limited contextual framework, are perhaps the most notorious. But there was another avenue that retained a significant structural environment with greater emphasis on composition,even if those compositions were themselves quite a stretch. Hill's third recording as a leader, the diabolically brilliant Point of Departure, may be the apex of this school. This album includes some of the fiercest, high density writing of the era, with each track featuring tight, byzantine written statements and full-throated blending of timbres. The music includes dissonant harmonies, often employing multiple melodic ideas, and often played very fast. It would be easy to imagine the musicians scratching their heads on the first run through, struggling with music that reached for new levels of complexity. Nevertheless, and despite the very complicated, wrought compositions, the band plays rather loosely. They're all there, but a perfect precision performance does not appear to have been Hill's core demand. Instead, people come in and out slightly ahead or behind the beats, and even when they're harmonizing, cacophonous filigrees abound. On top of all that and that's already a lot Point of Departure features extraordinary improvising. Eric Dolphy on alto sax, flute and his trademark bass clarinet pursues pathways that make perfect sense within the music, but still sound like they've arrived from another planet. Joe Henderson's tenor work is right out there with Dolphy, and Kenny Dorham's trumpet adds a bright brass blare over all of it. Hill's piano is all over the map, and he plays the way he writes: inventive, unpredictable, and fearless. Notably, although the improvising is very aggressive and forward-looking, everyone still keeps his statements within the context of the music. Nothing on this record ever veers off into free territory. As with all of Music Matters' reissues, Point of Departure comes as two 45 RPM LPs. A decent turntable is a necessity. But the vinyl itself is pressed with tremendous quality control, so with good equipment these records reveal details that no CD will ever approach. It also helps that the original session, engineered by Rudy Van Gelder, was particularly well-recorded, with excellent clarity and instrument scale. Point of Departure is a cornerstone jazz recording that every serious jazz listener should hear. The Music Matters pressing simply adds elevated sound quality to what was already a musical masterpiece. ~ Greg Simmons https://www.allaboutjazz.com/point-of-departure-andrew-hill-blue-note-records-review-by-greg-simmons.php

Personnel: Andrew Hill: piano; Kenny Dorham: trumpet; Eric Dolphy: alto sax, flute, bass clarinet; Joe Henderson: tenor saxophone; Richard Davis: bass; Tony Williams: drums.

Point of Departure

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Kenny Drew - Solo-Duo

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 70:26
Size: 163,2 MB
Art: Front

( 6:58)  1. Everything I Love
( 3:10)  2. Ode to Mariann
( 3:39)  3. Willow Weep for Me
( 6:46)  4. Swingin' Till the Girls Come Home
( 5:38)  5. Yesterdays
( 4:23)  6. Blues for Nils
( 3:02)  7. A Simple Need
( 4:02)  8. Whisper Not
(10:13)  9. Blues for Nils
( 7:54) 10. There's No Greater Love
( 8:13) 11. Ack Varmeland du Skona
( 6:23) 12. Bluesology

The talented, if underrated bebop pianist Kenny Drew spent his last few decades living in Scandinavia after emigrating from the U.S. in 1961. This 1996 CD has previously unreleased material recorded by the Danish Broadcast Corporation featuring Drew at three different periods in time. There are four tunes apiece of Drew in duets with bassist Niels Pedersen in 1966, playing unaccompanied solos in 1978, and duets with bassist Bo Stief in 1983. All dozen numbers (seven jazz standards, a Scandinavian folk song, an obscurity and two Drew originals, including two versions of "Blues for Nils") are quite rewarding. The music is straight-ahead, often harmonically sophisticated, swinging and occasionally unpredictable. An excellent sampling of Kenny Drew's talents. ~ Scott Yanow http://www.allmusic.com/album/solo-duo-mw0000085523

Personnel: Kenny Drew (piano); Niels-henning Orsted Pedersen, Bo Stief (bass)

Solo-Duo

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Yasuko Agawa - Jazz Ballad

Styles: Vocal Jazz
Year: 1990
File: MP3@320K/s
Time: 55:45
Size: 128,0 MB
Art: Front

(4:29)  1. But Beautiful
(4:26)  2. Moonlight Serenade
(3:53)  3. The First Time Ever I Saw Your Face
(3:44)  4. My Foolish Heart
(3:45)  5. Alfie
(4:18)  6. Saving All My Love for You
(4:05)  7. Star Dust
(4:07)  8. Lover Man
(4:37)  9. In a Sentimental Mood
(4:42) 10. If You Never Come to Me
(3:12) 11. What Are You Doing the Rest of Your Life
(3:13) 12. The Man I Love
(3:05) 13. My Funny Valentine
(4:02) 14. Good-Bye

Yasuko Agawa (Born October 16th, 1951 in Kamakura, Japan) is a Japanese jazz singer and actress. Yasuko began singing in Jazz clubs in 1973 and by 1978 had signed a deal with Victor Entertainment. Yasuko released her fist album, "Love-Bird," in 1978. Yasuko has remained active since the late '70s and has released 35 albums to date along with several concert DVDs and photobooks. https://www.last.fm/music/Yasuko+Agawa/+wiki

Jazz Ballad

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Al Cohn, Bill Perkins, Richie Kamuca - The Brothers!

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 74:51
Size: 174,5 MB
Art: Front

(3:48)  1. Blixed
(3:13)  2. Kim's Kaper
(3:08)  3. Rolling Stone
(3:08)  4. Sioux Zan
(2:48)  5. The Walrus
(3:12)  6. Blue Skies
(3:17)  7. Gay Blade
(3:13)  8. Three Of A Kind
(3:19)  9. Hags!
(3:04) 10. Pro-Ex
(3:19) 11. Strange Again
(3:39) 12. Cap Snapper
(3:02) 13. Memories Of You
(3:22) 14. Saw Buck
(3:22) 15. Chorus For Morris
(3:15) 16. Slightly Salty
(5:09) 17. Just Friends
(4:32) 18. All Of Me
(3:18) 19. Limehouse Blues
(4:31) 20. Solid De Sylva
(5:02) 21. Sweet And Lovely

This release presents the complete original 1955 album The Brothers! (RCA Victor LPM1162), featuring the wonderful West Coast frontline of Al Cohn, Bill Perkins and Richie Kamuca. In addition to the complete original album, this CD also includes all of the tunes recorded during those sessions that were originally excluded from the LP, as well as a splendid complete quintet session that also features Perkins and Kamuca. http://www.jazzmessengers.com/en/9356/al-cohn/the-brothers

Personnel:  Al Cohn, Bill Perkins, Richie Kamuca, tenor saxes,  Hank Jones, piano;  Barry Galbraith, guitar (on 2-3, 6-8, 10, 13 & 16);  Jimmy Raney, guitar (on 1, 4-5, 9, 11-12 & 14-15); John Beal, bass;  Chuck Flores, drums

The Brothers!

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Taylor Eigsti Trio - Resonance

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 62:18
Size: 143,2 MB
Art: Front

(4:11)  1. Got a Match?
(3:20)  2. Juliette
(3:46)  3. Oleo
(6:40)  4. Angel Eyes
(5:44)  5. Avolation
(6:40)  6. Somewhere
(7:20)  7. Love Dance
(5:36)  8. Uncle Smith
(4:50)  9. Cubano Chant
(7:43) 10. Things Ain't What They Used to Be
(6:24) 11. Introspection

People who claim "jazz is dead," or that its only true practitioners are dying off, can be very tiresome. This CD also proves them, well, dead wrong. Taylor Eigsti (IKES-dee), just 19 years old, is eager to carry the torch into the next century and what's more, he's doing it. He opened for David Benoit at age 8, played with Dave Brubeck at 13, and joined the teaching staff of the Stanford Jazz Workshop at 15. Eigsti has already opened for Diana Krall, Natalie Cole, Al Jarreau, and Hank Jones. His trio has played widely in his native California, including the Monterey Jazz Festival (at the Ravinia Festival in Chicago, they played under the banner of "Rising Strars."). Resonance , Eigsti's first truly wide release, showcases his incredible technique, enthusiasm and imagination. The lightning parallel runs on the blazing opener Chick Corea's "Got a Match?" would be dazzling in a pianist of any age. So would the impeccable, rousing stride piano on "Oleo," the sizzle on Ray Bryant's "Cubano Chant," and the assured swing on "Things Ain't What They Used To Be." 

But this is no infant savant: Eigsti shows taste and feeling in his choices, knows how to build a solo, and is a gifted composer as well (for example, "Avolation" brings jazz squarely into the 21st century, while restoring its original mandate as "danceable music," and his tribute to his "Uncle Smith" is thoughtful and lovely). It's hard to pick highlights on this CD, where a reharmonized, 7/4 "Angel Eyes" gains mystery while chestnuts "Love Dance" and "Somewhere" get a new shine. Eigsti's favorite comrades (John Shifflett and Jason Lewis) are wonderful throughout; at the recording session, the trio created the sly, bluesy groove that became "Juliette." I had the pleasure of meeting Eigsti on last year's S/S Maasdam jazz cruise, and it was refreshing to encounter a young pianist with more talent than attitude. Salutatorian of his high school class, he's a relaxed and engaging young man who is miraculously unspoiled. His career plans include introducing jazz to his own generation, which too often confuses the "smooth" with the real thing if they think of it at all. Since this record came out last month, Eigsti's been scheduled to tape an NPR "Piano Jazz" program with Marian McPartland. By all reports, Eigsti has grown a great deal since he recorded this CD. I can't wait to see him on this year's cruise and hear where he is now. Highly recommended. ~ Dr.Judith Schlesinger https://www.allaboutjazz.com/resonance-taylor-eigsti-bop-city-records-review-by-dr-judith-schlesinger.php

Personnel: Taylor Eigsti: piano; John Shifflett: bass; Jason Lewis: drums.

Resonance

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