Valery Ponomarev - A Star For You

Styles: Trumpet Jazz 
Year: 1997
File: MP3@320K/s
Time: 53:50
Size: 123,6 MB
Art: Front

( 6:10)  1. Commandments From A Higher Authority
( 6:02)  2. First Draft
( 9:54)  3. Dance Intoxicant
( 7:19)  4. A Star For You
( 5:58)  5. Uh Oh
(10:40)  6. We'll Be Together Again
( 7:47)  7. Blues For Elena

Valeri Ponomarev, one of the most underrated trumpeters in jazz, has a style based in the hard bop tradition of Clifford Brown, Lee Morgan and Freddie Hubbard, yet he keeps an open mind toward newer developments. On this CD, he is teamed with tenor saxophonist Bob Berg (whose soulful post-bop style has long been influenced by Michael Brecker), the little-known but talented Philadelphia-based pianist Sid Simmons, bassist Ken Walker, and drummer Billy Hart. The quintet performs six of the trumpeter's tricky yet swinging originals and a reharmonized rendition of "We'll Be Together Again." Ponomarev's very impressive range (hitting high notes with little difficulty), full sound and inventive ideas clearly inspire his sidemen. Berg puts plenty of passion into his solos, and Simmons makes one wish that he were recorded more extensively. Easily recommended to modern straight-ahead jazz collectors. ~ Scott Yanow http://www.allmusic.com/album/a-star-for-you-mw0000664171

Personnel: Valery Ponomarev (trumpet); Bob Berg (tenor saxophone); Sid Simmons (piano); Billy Hart (drums).

A Star For You

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Jack Teagarden - Jazz Great

Styles: Trombone Jazz
Year: 1954
File: MP3@320K/s
Time: 40:26
Size: 93,9 MB
Art: Front

(4:17)  1. King Porter Stomp
(3:09)  2. Eccentric
(4:11)  3. Davenport Blues
(3:22)  4. Original Dixieland One Step
(5:16)  5. Bad Acting Woman
(4:44)  6. Misery And The Blues
(4:21)  7. High Society
(2:14)  8. Music To Love By
(3:49)  9. Meet Me Where They Play The Blues
(4:57) 10. Riverboat Shuffle

For this LP, trombonist Jack Teagarden is heard with three different groups on a dozen titles recorded in Nov. 1954. Although the supporting cast on various selections includes trumpeter Jimmy McPartland, clarinetists Edmond Hall and Kenny Davern, and Dick Cary, Norma Teagarden and Leonard Feather on pianos, Teagarden is the main star throughout. His trombone playing was still in prime form and his vocals give spirit to the music. Highpoints of this enjoyable Dixieland set include "Original Dixieland One Step," "Blue Funk," "Eccentric" and "Milenburg Joys." ~ Scott Yanow http://www.allmusic.com/album/jazz-great-mw0000240824

Personnel:  Trombone – Jack Teagarden;  Bass – Kasper Malone, Walter Page;  Clarinet – Edmond Hall;  Drums – Ray Bauduc;  Guitar – Carl Kress;  Piano – Norma Teagarden;  Trumpet – Fred Greenleaf, Jack Teagarden;  Vocals – Jack Teagarden

Jazz Great

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Patricia Barber - Mythologies

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 58:56
Size: 135,8 MB
Art: Front

(7:10)  1. The Moon
(4:34)  2. Morpheus
(4:39)  3. Pygmalion
(4:35)  4. Hunger
(5:13)  5. Icarus (for Nina Simone)
(4:33)  6. Orpheus/ Sonnet
(6:00)  7. Persephone
(3:40)  8. Narcissus
(5:21)  9. Whiteworld/ Oedipus
(5:20) 10. Phaethon
(7:46) 11. The Hours

In much the same way that a visual artist paints memorable themes on canvas, Patricia Barber puts her ideas into music by establishing an open avenue of communication with her audience. Her voice is always a pleasure. Her piano work is comfortable in the context of her role as storyteller. Her compositions are deep enough that we'll revisit them again and again. Barber puts the blues into each of her adventurous musical portraits. Her quartet partners, guitarist Neal Alger, bassist Michael Arnopol and drummer Eric Montzka, surround the singer/pianist with hot stuff from start to finish. The scenes vary, as the characters that she's chosen to represent come from different viewpoints. "Icarus is light and positive, while "Pygmalion suffers from a heavy dose of the blues. "Narcissus drowns in romantic sorrow; "Orpheus treads heavily while crying out in sorrow. "Oedipus perks up with a raging storm of percussion activity, while "Persephone waltzes slowly and lightly as if through a meadow of flowers in full bloom. The five-star program delivers a thousand images bound by progressive, enduring jazz wrappings. Barber, now fifty, grew up in South Sioux City, Nebraska. Her music retains the influence of America's heartland through its storytelling, down-home comfort and soulful sharing. Through Mythologies, we're transported home to our own roots: the church, school and neighborhood organizations that helped us to develop and mature. ~ Jim Santella https://www.allaboutjazz.com/mythologies-patricia-barber-blue-note-records-review-by-jim-santella.php
 

Personnel: Patricia Barber: piano, vocals; Neal Alger: guitar; Michael Arnopol: bass; Eric Montzka: drums; Jim Gailloreto: alto saxophone, tenor saxophone; Paul Falk, Grazyna Auguscik, Lawrice Flowers, Airreal Watkins.

Mythologies

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Jimmy Cobb & Friends - The Meeting

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 61:55
Size: 141,9 MB
Art: Front

(7:40)  1. The Meeting
(6:55)  2. On A Misty Night
(8:38)  3. Full House
(4:34)  4. Mountain Blues
(5:38)  5. Book's Bossa
(6:22)  6. What Was
(6:52)  7. Beni's Mounce
(3:47)  8. I Only Want You
(4:44)  9. Prelude To A Kiss
(6:40) 10. The Vermonter

A superb, mostly self-taught drummer, Jimmy Cobb has been a dominant accompanist and outstanding soloist. He approaches the drum kit in both a melodic and percussive fashion, never playing overly long or rambling solos. He's known for working slightly ahead of the beat, and has anchored many fine sessions as well as spending five years with Miles Davis in the '50s and '60s. Cobb did study briefly with Jack Dennett, a percussionist with extensive symphonic credentials. He played with Charlie Rouse, Leo Parker, Frank Wess, Billie Holiday, and Pearl Bailey in Washington, D.C. Cobb left in 1950 to join Earl Bostic, and cut his first recordings with him. He played with Dinah Washington over three years, then worked with Cannonball Adderley, Stan Getz, and Dizzy Gillespie. He took over for Philly Joe Jones in the Davis band in 1958, and was on hand for several seminal dates. He finally left, along with Paul Chambers, to team with Wynton Kelly. The trio played and recorded with Wes Montgomery, Kenny Burrell, and J.J. Johnson before it disbanded. Cobb played on the soundtrack for the film Seven Days in May, and later worked with David Amram. He worked with Sarah Vaughan through the '70s, and was featured on a public television film of a Vaughan concert at the Wolf Trap Jazz Festival. Cobb also worked with Richie Cole, Sonny Stitt, Nat Adderley, and Ricky Ford. During the '80s he worked with the Joe Albany trio. For all his session work from the '50s onward, Cobb was not particularly known as a leader on his own dates, and rather extraordinarily began developing his own discography in earnest beginning during the late '90s and extending across the first decade of the 2000s, starting (after 1994's Encounter, a duo release with singer Ada Montillanico) with Only for the Pure of Heart by Jimmy Cobb's Mob in 1998. A second Cobb's Mob album, Cobb's Groove, was released by Milestone in 2003. Tribute to Wynton Kelly & Paul Chambers by the Jimmy Cobb Trio was issued by the Japanese Sound Hills label in 2004, followed by two Chesky releases by the Jimmy Cobb Quartet, Cobb’s Corner in 2007 and Jazz in the Key of Blue in 2009. In addition, the Marsalis Music Honors series released a Jimmy Cobb volume in 2006, featuring Cobb on drums along with Ellis Marsalis on piano, Andrew Speight on saxophone, and Orlando Le Fleming on bass. Cobb received a National Endowment for the Arts Jazz Masters award in October 2008. ~ Ron Wynn  https://itunes.apple.com/uz/album/the-meeting/id428728990

Personnel:  Jimmy Cobb – drums;  Helmut Kagerer- guitar;  Rob Bargad - Hammond b-3;  Michael Erian - tenor saxophone

The Meeting

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Jeff Golub - Out of the Blue

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 59:43
Size: 137,0 MB
Art: Front

(5:20)  1. Wanna Funk?
(4:35)  2. Indiana Moon
(4:22)  3. Manteca
(6:09)  4. The Velvet Touch
(6:27)  5. My Everything
(5:03)  6. Lucky Strike
(5:34)  7. Latitude 19
(4:44)  8. Come on Home
(7:41)  9. Paradise Lost
(9:44) 10. Groanin'

Jeff Golub is categorized in the smooth jazz genre because he's an instrumentalist; at heart, though, he's an Eric Clapton styled rockin' blues guitar player who, on Out of the Blue, finds himself stumbling happily into Tower of Power-like jam sessions. He pulls no punches from the start, rocking hard and furious with his distorted electric thrust darting around and over Ricky Peterson's brooding B-3 and a three-piece horn section on "Wanna Funk?" Same idea, south of the border style, on the similarly hard-hitting Latin blues hurricane "Manteca," where Golub explores some improvisational territory in between sizzling solo sections by his longtime friend Rick Braun. Golub co-produced the album with keyboardist Philippe Saisse, whose comparatively laid-back style keeps Golub in the cool on more mid-tempo, easy to latch onto pieces like "Indiana Moon"; the guitarist gets more aggressive as the song progresses, but the hooky piano harmony line stays a constant. Saisse helps bring out Golub's completely meditative side on "The Velvet Touch" for about half the tune before the electricity rises once again. It's as if Golub just can't keep his virtuosity to himself, no matter how emotionally restrained the trappings. "Groanin'" is a unique departure which plays as though Golub got up one night in a straight-ahead jazz club and tried his hand (pretty convincingly, at that) at the bebop quartet thing. ~ Jonathan Widran http://www.allmusic.com/album/out-of-the-blue-mw0000240008

Personnel: Jeff Golub (guitar); Vaneese Thomas, James "D-Train" Williams (vocals); Dave Woodford (saxophone, flute); Kirk Whalum, Tim Ries (saxophone); Rick Braun, Jim Hynes (trumpet, flugelhorn); Michael Davis (trombone); Jim Biggins (flute); Jeff Levine, Leon Pendarvis, Ricky Peterson (Hammond B-3 organ); Kenny White (Wurlitzer piano); Philippe Saisse (keyboards, percussion); Marc Antoine (nylon string guitar); Lincoln Goines (acoustic bass); Tony Levin (bass, Chapman stick); Neil Jason (bass); Steve Ferrone, Steve Barbuto, Shawn Pelton (drums); Richie Flores, Roger Squitero (percussion)

Out of the Blue

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Kurt Elling - Close Your Eyes

Styles: Vocal
Year: 1995
File: MP3@320K/s
Time: 63:39
Size: 146,0 MB
Art: Front

(6:08)  1. Close Your Eyes
(6:36)  2. Dolores Dream
(6:20)  3. Ballad Of The Sad Young Men
(6:59)  4. (Hide The) Salomé
(1:32)  5. Married Blues
(6:16)  6. Storyteller Experiencing Total Confusion
(5:33)  7. Never Say Goodbye (For Jodi)
(3:09)  8. Those Clouds Are Heavy, You Dig?
(3:58)  9. Wait 'Till You See Her
(4:50) 10. Hurricane
(2:03) 11. Now It Is Time That Gods Came Walking Out
(5:53) 12. Never Never Land
(4:15) 13. Remembering Veronica

For his debut recording, Chicago vocalist Elling pushes the envelope, challenging listeners and his musicians with beat poetry, ranting, and his Mark Murphy-ish singing. There's quite a bit of dramatist/actor in Elling, although the romantic in him is also pretty prevalent. Acting much like a tenor saxophonist, Elling can wail and shout, expound on social themes, and scat like a demon. Help from the extraordinary pianist Laurence Hobgood, bassists Eric Hochberg and Rob Amster, and drummer Paul Wertico inspires Elling to even higher plateaus, while tenor saxophone foils Ed Peterson and Von Freeman appear separately on three of the 13 tracks. Elling writes a ton of lyrics. His take on Wayne Shorter's "Dolores" is "Dolores Dream," on which the singer speaks of Chi-Town in terms both favorable (hanging out at the Green Mill jazz club) and not so favorable ("fat frying, spluttering rank Chicago smeltering along, smothered in hot wooly sweat"), with a maniacal swing following his a cappella intro. His ramrod scatting is amazing both on this piece and on an exploratory take of Herbie Hancock's "Hurricane." A "So What"-type modality informs "(Hide The) Salome," with vicious scatting and Freeman's tenor in complete, frustrated agreement. Elling's poetic recitation of "Married Blues" and the avant beat style of "Now It Is Time" show his reverence for Rexroth and Rilke, respectively. As far as pure singing goes, "All the Sad Young Men" is beautifully rendered similar to Murphy, but not as overtly pronounced. "Close Your Eyes" opens with a tender piano intro, flowing into bass/vocal wistfulness and a midtempo romp. Elling extrapolates on the original lyric and scats feverishly on the bridge. He is at his most sexual on the slinky bossa "Never Say Goodbye" and the ballad "Storyteller Experiencing Total Confusion," with Peterson's sax shyly filling in cracks of fear and disillusionment. There's clearly more in store for Elling as he matures, but this is as auspicious a vocal jazz debut as the world has heard. ~ Michael G.Nastos http://www.allmusic.com/album/close-your-eyes-mw0000644447

Personnel: Kurt Elling (vocals); Edward Peterson, Von Freeman (tenor saxophone); Laurence Hobgood (piano, synthesizer); Dave Onderdonk (acoustic & electric guitars); Rob Amster (acoustic & electric basses); Eric Hochberg (acoustic bass); Paul Wertico (drums, percussion).

Close Your Eyes

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Gene Krupa, Lionel Hampton, Teddy Wilson - The Complete 1955 Session

Styles: Vibraphone And Piano Jazz
Year: 1955
File: MP3@320K/s
Time: 56:54
Size: 130,4 MB
Art:

(8:21)  1. Avalon
(6:32)  2. Just You, Just Me
(7:41)  3. Blues for Benny
(8:51)  4. I Got Rhythm
(5:56)  5. Moonglow
(7:13)  6. Airmail Special
(5:14)  7. The Man I Love
(7:03)  8. Body and Soul

This CD release contains the one and only quartet session by Gene Krupa, Lionel Hampton and Teddy Wilson without Benny Goodman, presented here in its entirety and for the first time ever on CD. With the sole addition of bassist Red Callender, the three stars swing from start to finish on this horn-less session that was originally issued in divided form onto an LP (Clef MGC681) and a difficult to find British 45 rpm EP (titled 'Strollin' Along' SEB 10086). http://www.freshsoundrecords.com/gene-krupa-lionel-hampton-teddy-wilson-albums/6057-the-complete-1955-sessions.html

Personnel:  Gene Krupa (d), Linel Hampton (vib), Teddy Wilson (p), Red Callender (b)

The Complete 1955 Session

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Janet Klein & Her Parlor Boys - It's the Girl

Styles: Vocal, Jazz, Retro Swing
Year: 2015
File: MP3@320K/s
Time: 64:05
Size: 149,2 MB
Art: Front

(2:39)  1. Sing to Me
(2:39)  2. Doin' the Uptown Lowdown
(3:23)  3. In a Little Garden
(3:09)  4. It's the Girl
(5:43)  5. Close Your Eyes
(3:39)  6. Old Man of the Mountain
(3:20)  7. East St. Louis Toodle-Oo
(3:38)  8. I Double Dare You
(2:45)  9. I'm Gonna Meet My Sweetie Now
(1:44) 10. Let's Don't and Say We Did
(3:25) 11. Look What You've Done to Me
(5:30) 12. Willow Weep for Me
(3:55) 13. You Learn About Love Everyday
(4:17) 14. Left Bank Medley: Bad Boys of Belleville / La Route Bleu
(2:40) 15. Shiny Shoes
(2:49) 16. The World Is Waiting for the Sunrise
(3:00) 17. Music Makes Me
(5:40) 18. Moonglow

The long awaited 8th CD by Janet Klein & Her Parlor Boys is OUT! Entitled “It’s the Girl!” the disc is jam packed with delicious delights. All the sensational titillation and panache of pre-code era music-making is here in this ensemble’s latest 2015 tour de force. Well worth the wait (last release “Whoopee Hey Hey!” 2010), this is surely the band’s most ambitious project to date. With band arrangements that certainly would have delighted Hal Roach, the group is at the top of its game. Eleven of the eighteen songs are culled from old films, including Wheeler and Woolsey comedies, and Vitaphone Vaudeville performance shorts. With top-notch ensemble musicianship on par with a studio orchestra of the 1930s, the group here has added original newly composed sections that seamlessly interweave with the old to make a final product even more thrilling than the original. Two transcending examples to note are the effervescent mid-sections of “I Double Dare You” and the dark sexy tango interlude in “Close Your Eyes”. Rare archeological treasures abound on Janet’s CDs and this latest is no exception. In the hands of these early jazz hunters, better known song selections like “Moonglow” and “Willow Weep for Me”, shine like new as the band has gone the extra mile to unearth little known and rarely performed verse sections. Leaving no stone unturned, Janet and the band bring to life hot jazz, tin pan alley and ballads from early twentieth century radio, film, dance halls, nightclubs, Vaudeville and even conjure some cartoon music of the time.

To support the immersive adventure, together with cartoonist, Thom Foolery, the group built and painted a full-scale cartoon set, ala 1920’s Felix the Cat and early Disney’s Little Alice silent cartoons. The set was constructed as an interactive space for Janet’s black and white clad band to mug and frolic for imaginative CD packaging photos and a music video: YouTube - “Sing To Me”. The original inspiration of live action actors mixing it up in a cartoon environment is drawn from Max Fleischer’s office antics with animated characters Koko the Clown, Bosko and Betty Boop leaping off the animation cells and the little living girl - Alice walking into 2 dimensional black and white 1920’s cartoonland in Disney’s earliest achievements. The tune “Old Man of the Mountain” sung by band member John Reynolds is originally from a Cab Calloway/Betty Boop cartoon, a live action mash up fantasy of that same title. For the photos, Janet designed two costumes for herself; one made to resemble a 1920s Max Sennett bathing beauty checkered and rolled stocking get-up and another satin ensemble ala 1930’s Ruby Keeler tapdance outfit that includes two handmade charming, unique and kooky hats, with parts hunted down from the last standing millinery supply house in LA. Janet & Her Parlor Boys (produced by Robert Loveless) have never sounded so good. The sweet and melodic tunes’ rich tapestry has an immediate sound quality that draws the listener into the inspired performances. As a whole this CD emotes the love the musicians feel for this genre and a playful authentic charm that will appeal to a modern ear.

Janet has been performing early music since 1996 and released her first CD in 1998 - “Come Into My Parlor”. She and the band currently live and perform around Los Angeles and have played in many old music halls and theatres in the US and around the world. The CD includes two original songs by Ian Whitcomb; an English Yiddish novelty number written about Janet plus the fanciful instrumental “Left Bank Medley” featuring the amazing accordion playing of Josh Kaufman from Petrovich Blasting Co. Recently (2014-5) Janet’s voice was featured in the Cartoon Network’s “Adventure Time” and “Over the Garden Wall”. She has a hit song (200,000+ views) on YouTube from her most recent characterization as the lovelorn school teacher (Miss Langtree) for forest animals in the exquisitely beautiful cartoon “Over The Garden Wall” Her song “Langtree’s Lament” can be seen and heard - see below “Videos and Clips” https://store.cdbaby.com/cd/janetkleinherparlorboys1

Personnel:  Janet Klein – Vocal & Ukulele;  Benny Brydern –Violin;  Corey Gemme – Cornet, T-Bone & Percussion;  Marquis Howell – Stand Up Bass;  Josh Kaufman – Accordion;  Dan Levinson – Clarinet, C-Melody Sax & Tenor Sax;  Geoff Nudell – Alto Sax, Bass Clarinet & Clarinet;  John Reynolds – National Steel Tricone Guitar, Banjo, Vocals;  Jonathan Stout – Drums;  Ian Whitcomb – Vocal;  Randy Woltz – Piano, Celeste & Vibraphone

It's the Girl

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Jack Teagarden & His Orchestra - Stars Fell On Alabama 1931-1940

Styles: Trombone Jazz, Swing
Year: 1940
File: MP3@320K/s
Time: 66:05
Size: 154,4 MB
Art: Front

(2:45)  1. I Gotta Right To Sing The Blues
(2:58)  2. My Melancholy Baby
(2:44)  3. Wolverine Blues
(3:14)  4. Beale Street Blues
(3:14)  5. Somewhere A Voice Is Calling
(3:10)  6. If I Could Be With You (One Hour Tonight)
(3:03)  7. Muddy River Blues
(2:48)  8. Aunt Hagar's Blues
(2:48)  9. Swingin' On The Teagarden Gate
(2:31) 10. It's A Hundred To One (I'm In Love)
(3:24) 11. Peg O' My Heart
(2:56) 12. United We Swing
(3:17) 13. The Blues
(3:03) 14. Stars Fell On Alabama
(3:08) 15. Junk Man
(2:40) 16. The Sheik Of Araby
(3:12) 17. You Rascal, You
(3:06) 18. China Boy
(3:14) 19. Chances Are
(3:06) 20. Tiger Rag
(3:01) 21. Rockin' Chair
(2:33) 22. I Swung The Election

Giants of Jazz, the Italian reissue label which uses both legal and semi-legal tapes sometimes releases recordings that are on the dodgy side, and other times offers listeners a solid view into the development of a particular artist. These 22 sides by Jack Teagarden, collected between the years 1931 and 1947, offer a very intimate view of the great trombonist and vocalist at the height of his power as both a bandleader and as a sideman. From the early New Orleans material such as "I Gotta Right to Sing the Blues," and "Melancholy Baby" right on through the title cut and the stellar blues shouting of "Tiger Rag" and Hoagy Carmichael's "Rocking Chair." This may not be a definitive Teagarden statement there are a number of them but it's more than an idea or a taste. It's a solid collection (sound varies given the period) that offers a very solid view of the particular genius of Teagarden. ~ Thom Jurek http://www.allmusic.com/album/stars-fell-on-alabama-1931-1940-mw0000434939

Stars Fell On Alabama 1931-1940

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Brother Jack McDuff - To Seek A New Home

Styles: Piano Jazz
Year: 1970
File: MP3@320K/s
Time: 33:15
Size: 76,7 MB
Art: Front

( 6:42)  1. Yellow Wednesday
( 4:50)  2. Come And Carry Me Home
( 5:31)  3. Mystic John
( 6:01)  4. Hunk O' Funk
(10:09)  5. Seven Keys For Seven Doors

A great little album that has McDuff soloing on Hammond, over larger funkier arrangements very much in the manner of his sublime Moon Rapping set, also recorded for Blue Note. Arrangements are by JJ Jackson and Jerry Long and McDuff will blow your mind as he navigates the mix of time changes, theme changes, and rhythm changes over the course of the long tracks on the set. Includes the sublime sample cut "Hunk O Funk", plus "Mystic John", "Seven Keys For Seven Doors", and "Yellow Wednesday". (Liberty/UA pressing. Cover has some wear & aging. Label has some marker.) © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/3114/Jack-McDuff:To-Seek-A-New-Home

Personnel:  Brother Jack McDuff - organ, piano;  Martin Drover, Terry Noonan, Bud Parks – trumpet;  John Bennett, Adrian Drover – trombone;  David Statham, Willie Watson - french horn;  Norman Leppard, Dick Morrissey, Jack Whitford, Dave Willis – reeds;  Typhena Partridge – harp;  J.J. Jackson - piano, percussion;  Chris Parren - electric piano;  Terry Smith – guitar;  Peter Chapman, Larry Steele - electric bass;  Trevor Armstrong, Phil Leaford – drums;  Debrah Long, Jerry Long - vocals

To Seek A New Home

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Taylor Eigsti Trio - Taylor's Dream

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 58:18
Size: 133,7 MB
Art: Front

(5:25)  1. Ever So Easy
(5:25)  2. Tokyo Blues
(4:57)  3. Bolivia
(5:05)  4. Not Knowing
(3:57)  5. Goodbye Pork Pie Head
(6:48)  6. Meditation
(3:11)  7. Cheryl
(5:57)  8. A Bientot
(5:09)  9. Rolyat's Jam
(6:21) 10. In Your Own Sweet Way
(5:59) 11. Quiet Now

Menlo Park's Taylor Eigsti is the latest in a line of young hotshot pianists who know the jazz book well. They can quote line and verse from Horace Silver, Charles Mingus, Charlie Parker, Billy Taylor, and Dave Brubeck and play the music by rote, adding small touches of personality along the way. Eigsti is one of these kids, with one important distinction: His treatment of material from the fake book is not littered with small individual flourishes he reads these works through his individuality and his truly amazing melodic sensibilities. Eigsti, along with his band featuring John Shifflet on bass and Jason Lewis on drums, takes material from all these sources, adds a Jobim tune, Cedar Walton's challenging "Bolivia," and a couple of originals, and burns the joint down lyrically of course. There is no false academic flash in Eigsti's playing listen to him tear up the changes in Silver's "Tokyo Blues" it's all heart and an unbelievably adept sense of timing. It's true that he plays a hell of a lot of notes, almost as many as Oscar Peterson, but not on every tune and not in every solo. This is youth feeling its oats. On "Bolivia," he plays the mode against the blues mood and makes the drummer double time him, turning the Latin rhythm into a sweat fest. Other standouts include his read of "Goodbye Pork Pie Hat," in which he actually adds something emotionally to the piece; his intervals come off like lightning, and his solo against Shifflet's bass is a complex harmonic journey of skeletal chords and triplets played in slow motion. Elsewhere, Jobim's "Meditation" is a study in shade and subtle colors. Timbral shifts occur seamlessly and often; the melody is played off against itself as if Eigsti was searching for Jobim's thoughts and feelings when he wrote the tune. But it's Eigsti's strength as a composer that really sets him apart from the crowd. Like Brad Mehldau, his sense of harmony is rich, warm, and chock-full of shapes and tones, and he exercises it without restraint on "Not Knowing," a blues-based ballad that is reminiscent of Bill Evans both in composition and playing style. The large chords are graced by a whispering right hand that slides down the keyboard to the next set of changes. One can only hope that a stateside label decides to sign this kid and put out his records over here. This is an auspicious a debut album as you are likely to find anywhere. ~ Thom Jurek http://www.allmusic.com/album/taylors-dream-mw0000002680

Personnel:  Piano – Taylor Eigsti;  Bass – John Shifflett;  Drums – Jason Lewis

Taylor's Dream

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Sam Paglia - Killer Chachacha

Size: 129,7 MB
Time: 54:55
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz Funk, Hammond Organ
Art: Front

01. Black Loop (2:47)
02. Organsm (3:27)
03. Introduction (0:20)
04. Return Of Lo Bianco (5:39)
05. Room 26 (2:55)
06. Suspence (0:53)
07. Bullitt (3:11)
08. Barely Bossa (0:44)
09. Killer Cha Cha Cha (4:20)
10. Beloved (3:54)
11. Stripper Girl (4:01)
12. Theme From The Liquidator (4:01)
13. Good News From Mars (3:12)
14. Gran Lusso (1:20)
15. Bbq (4:22)
16. Hip Club (2:40)
17. Chitlins Circuit (3:43)
18. Sanford & Son (3:17)

Composer, lyricist, organist Hammond, singer, pianist and keyboardist (specializing almost exclusively in vintage keyboards such as Fender Rhodes, Wurlitzer, Clavinet and Moog piano), designer and writer. In 1996 he founded the Sam Paglia Trio, and as a tool he chooses the Hammond organ. In 1998 he released the Irma Records B-movie heroes bolognese label, his first record of original pieces as a fictional soundtrack of an imaginary film. It is the first case of an Italian disco dedicated to the film of genres of the police in which coexist with the influences of Italian masters of composition for film such as Umiliani, Piccioni, Trovajoli and Jimmy Smith and Quincy Jones jazz from afroamerican. Along with Irma Records in 2000 comes Nightclubtropez, a disco with influences of bossanova and soul jazz dedicated to dance music of Italian nights between the sixties and seventies with songs sung Continental 70 and Naitropè Clebtrope '. The album gets great reviews and boasts great distribution and sales mostly overseas: Japan, Australia, USA, Russia, England, Germany and Austria. In 2003, Cinedelic recorded the third album Killer cha cha cha, more on the soul jazz and funk side. Here are four covers for Bullitt and Room 26 (Lalo Schifrin, taken from the Bullitt 1968 film), Theme from The Liquidator (always from Schifrin from The Liquidator 1966) and Sanford & son theme by Quincy Jones The 1972 homonymous TV series. The first three discs have the covers designed by Sam himself. The pieces of these appear on dozens of dozens of compilations and its name is linked to the so-called lounge movement in Italy, which is part of the duo of the Montefiori Brothers (Montefiori Cocktail). In April 2000 Sam's trio meets in a unique and unrepeatable evening Piero Umiliani to play together the master's successes brought to the fore by the lounge movement, classics such as Gassman Blues (from the usual unknowns) and "Mah na mah na" (Song made popular by the Muppet show and originally written for Sweden's Hell and Paradise movie). For recording, it intensifies that of live and composing music for jingle advertising, television documentaries and film and shorts of author. In addition to playing all over Italy, the Trio plays in festivals and venues in Austria, Spain, Croatia, Bosnia, England, Switzerland. The following albums are The rare Sam Paglia (Flipper / Hip Cub records) of 2005, Electric Happiness (Deja vu ') of 2009, The Last Organ Party (Flipper / Hip Club records) in 2012. Since 2003 he has started collaborating with the director Milanese Max Croci for which he will perform several short films and documentary music. Since 2005 he has been working as a composer for the Flipper Music publishing company specializing in television and cinema sound. ~Google translation

Killer Chachacha

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Carol Welsman - For You

Size: 106,0 MB
Time: 45:00
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Skylark (3:04)
02. The Shadow Of Your Smile (1:58)
03. Smile (2:17)
04. Les Feuilles Mortes (2:33)
05. Besame Mucho (3:19)
06. Bewitched (3:50)
07. It Had To Be You (1:21)
08. My Foolish Heart (3:09)
09. Les Parapluies De Cherbourg (2:23)
10. Corcovado (3:41)
11. My Funny Valentine (2:37)
12. Close To You (2:07)
13. Garota De Ipanema (3:03)
14. Ti Guardero Nel Cuor (2:03)
15. Les Moulins De Mon Coeur (4:34)
16. Someone To Watch Over Me (2:50)

Although Carol Welsman has moved to the Los Angeles area, she is best known in her native Canada. While frequently identified with smooth jazz, she has also recorded vintage standards and can swing in straight-ahead jazz settings, too. Her father was a big jazz fan with a large record collection, introducing his daughter to jazz. Not only did she hear his records, but from the age of 12 she often accompanied him to concerts, developing a love for the singing of Peggy Lee, Frank Sinatra, and Mel Tormé. Welsman played guitar from the age of ten, accompanying her singing of bossa novas and folk music. She began to perform jazz more in her late teens. Welsman attended the Berklee College of Music during 1980-1981 and studied voice in France with Christiane Legrand. She started the Welcar Music label in Toronto, recording her debut CD, Lucky to Be Me, in 1995. She performed throughout Canada and also worked as a jazz vocal professor at the University of Toronto. During 2004-2005 she toured in Japan, Italy, and Brazil in addition to Canada and worked a bit in Los Angeles as a singer/pianist, but Carol Welsman has yet to become well known in the U.S. despite being a household name in Canada. ~ Scott Yanow

For You

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George Freeman - 90 Going On Amazing

Size: 148,1 MB
Time: 63:48
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Summer Wind (5:57)
02. That's It (5:57)
03. Hit It (3:37)
04. Trees (5:02)
05. Steppin' With George (6:07)
06. Bruz, George, Chico & Von (4:42)
07. That's All (6:38)
08. Contaminated (6:09)
09. You Are Mine All Mine (5:04)
10. Mike's Tempo (7:20)
11. The Bottom (7:10)

George Freeman has long been a homebody. Early on he made his mark on stage and/or in the studio with the best of the best saxophone lodestars Lester Young and Charlie Parker, to mention just two as they came through his hometown, Chicago. Touring did eventually figure into his career he hit the road with soulful heavies Gene Ammons and Shirley Scott in the '50s but he essentially gave up the travelling life about six decades ago. Since that time he's become a fixture in the Windy City, a Midwestern musical treasure acknowledged throughout the region yet seldom saluted as he should be elsewhere. Now, that recognition will hopefully come his way. Freeman made a decent blip on the national radar with All In The Family (Southport Records, 2015), co-leading that session with his better-known nephew Chico Freeman; he attained nonagenarian status back in April of 2017; and this long-shelved date, recorded in 2005, is now hitting the marketplace.

The thing that's most striking about this record, and perhaps most important when it comes to discussing George Freeman's sonic identity, is tone. He presents every idea with a bright and rounded sound, direct as can possibly be. His power of sustain is pure perfection, as single notes hang over the harmonies below with just the slightest taper, and his repetitive, one-note flutters come off like a beautiful gathering of lightning bugs, not a buzzing swarm of bees. His ideas almost seem to run second to his sound, and that's just fine. With a sound like that, who would want to draw focus away?

Originals dominate here, with only three covers showing up on the playlist, and most of the material is fairly easygoing in nature. Numbers like "That's It," "Steppin' With George," and "Contaminated" speak to the blues-soaked world in which Freeman has always thrived; "Trees" and "That's All" offer opportunities to bask in the glow of the guitarist's ballad playing; "Bruz, George, Chico & Von" speaks to blood, giving pianist Vince Willis a chance to step to the microphone and add laudatory vocals honoring Freeman's musical family; and "Mike's Tempo" brings sunny and slinky qualities to the fore. In every case, Freeman sits in the driver's seat and Willis is right there to give him what he needs. There's a no-frills quality behind what bassist Jack Zara and drummer Kevin Patrick bring to the table—their contributions are fairly bland, to be honest but they're not the ones who need to carry the date. Those two sidemen get through without fanfare, leaving the spotlight right on the leader.

Freeman won't wow you with virtuosity, there's absolutely nothing forward-looking to be found here, and the final mix could've been a bit better. But none of that really matters in the grand scheme of this recording and this musician's history. 90 Going On Amazing a bit of a misnomer in a way, since Freeman was 78 when it was recorded is about a man's ability to tell a story with his guitar, plain and simple. It's hard not to appreciate what George Freeman has to offer in that respect. ~Dan Bilawsky

Personnel: George Freeman: guitar; Vince Willis: piano, vocals (6); Jack Zara: bass; Kevin Patrick: drums

90 Going On Amazing                 

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Aina Friden - Up High

Size: 102,9 MB
Time: 44:06
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. High Wire (6:05)
02. Whisper Not (5:42)
03. Autumn In Rome (5:52)
04. That's All (5:04)
05. Autumn Serenade (4:14)
06. Moody's Mood (4:15)
07. Pennies From Heaven (4:26)
08. Moon S (4:52)
09. Too Romantic (3:32)

Personnel:
Aina Fridén: vocal
Ulf Johansson Werre: piano
Frode Kjekstad: guitar
Roger Williamsen: bass
Hermund Nygård: drums

After many years of fans asking for a CD, the moment has finally arrived: Aina Fridén ´s debut CD release – as a leader!

I have been playing with Aina for about 20 years now and we have played countless gigs together, from duo to big band. I have been lucky enough to follow her development through the years, into what she is today: a true jazz artist.

This recording came about as a result of a collaboration with the Swedish jazz pianist and jazz personality Ulf Johansson Werre. When I introduced my longtime friend Uffe (Ulf) to Aina for a quintet project, there was a musical explosion, right from the first bars of the rehersal!

So we booked a studio in connection with a small tour, went into the studio, and did it!

The project turned out to be a smash hit, both in concert and on CD, showing great interplay, blistering scats, and some serious jazz singing!

Aina Fridén grew up in a family of musicians; with all the great American singers on the record player every day; Sinatra, Ella, Anita, Bing, and Connie Francis, as well as all kinds of jazz, and classical composers. The American songbook came to be second nature to her. After some years as a freelance singer, she studied jazz at the University in Oslo, impressing everybody by singing difficult parts of horn arrangements, and other instrumental parts, with great accuracy and detail. Since then, she has developed her own style as a jazz singer, reflecting her background in American jazz, with artistic dives into the lyrical elements of European music. Her impressive musical ear is a keystone in the variations and scats you hear on this hard swinging recording.

With a natural feeling for the rhythm, groove, melody and swing of jazz, she stands out as a true individual, contemporary jazz artist.

Up High

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Sylvie Boisel - Amour

Size: 100,3 MB
Time: 37:24
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. A Man And A Woman Un Homme Et Une Femme (3:42)
02. C'est Si Bon (1:57)
03. Comment Te Dire Adieu (2:37)
04. L.O.V.E (2:13)
05. Cry Me A River (4:52)
06. What Now My Love (2:34)
07. Don't Worry Be Happy (4:46)
08. Autumn Leaves (4:31)
09. As Time Goes By (3:13)
10. La Vie En Rose (3:19)
11. I Still Call Australia Home (French Version) (3:34)

After a successful international career on stage, fulfilling the desires of audiences around the world, Sylvie Boisel has launched her first album which is naturally named 'Amour' - Love.

Sylvie's Amour could only be experienced live on stage - with the release of her album, you can now immerse yourself in her 'Love' whenever your heart desires!

Sylvie has made this album of Jazz standards and classic French ballads with Australian Jazz musicians who share her passion:
Steve Iuliano - Backing Vocals
Monique Lysiak - Piano
Alex Compton - Double Bass
Toby Hall - Drums
Alan Davey - Trumpet and Trombone
Ian Cooper - Violin and Viola
Liz Neville - Cello
Retaw Boyce - Violin

"Sylvie Boisel's colorfully velvet songbird vocals envelope your senses and make you feel as if you're truly in Paris with the sun on your face, relishing in the scent of gardenias and espresso in the air. The classic songs that we all know and love are brought back to life through this beautiful woman and her extraordinary voice!" - Colleen Paige, Furocious Music, USA

"Sylvie's eloquent vocal prowess coupled with her delightful personality impress" - Bill Lawler, Band Co-ordinator, Moe Jazz Festival, Australia

"What an inspiration. Fabulous. Welcome to Australia." - Joan Rodda, Moe Jazz Festival, Australia

"A beautiful change to hear your enchanting voice blending with jazz music." - Mike Perkins, Jazz in the Pines, Australia

Amour

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Bob Mintzer & The Horn Man Big Band - Papa Lips

Styles: Saxophone, Flute and Clarinet Jazz
Year: 1983
File: MP3@320K/s
Time: 42:17
Size: 97,9 MB
Art: Front

(6:33)  1. Papa Lips
(9:30)  2. Lazy Day
(4:14)  3. I Hear A Rhapsody
(7:59)  4. Latin Dance
(7:18)  5. Truth
(6:42)  6. Mr. Fonebone

Recorded in 1983 and previously only released in Japan on Cheetah, Papa Lips is Bob Mintzer's third album as a leader. A step ahead of the rather sterile production of his previous album for the label Source (both are now available in the U.S. on CD courtesy of the Elore Records imprint), Papa Lips features a stellar band playing a program comprised almost entirely of Mintzer tunes, the lone exception is the standard "I Hear a Rhapsody." The band here is stellar and includes in various places Michael and Randy Brecker, Lew Soloff, Don Grolnick, David Sanborn, Will Lee, Peter Erskine and Marvin Stamm, among others. The material is more Latin in flavor, and the arrangements are less funk-oriented than its predecessor's. The sound is still quite slick, but the material is stronger and there are no vocal performances this time out. The remarkable thing here is that the Michael and Randy Brecker and David Sanborn were not particularly well known as big band players at this time, but their execution of these often complex charts is remarkable check the title cut that opens the set with a fine Randy Brecker solo; it's knotty and multi-textured with colors coming from all over the tonal spectrum. "Lazy Day," a gospel flavored soul tune for big band is reminiscent of Thad Jones' and Mel Lewis' orchestra, with fine solo s from Mintzer on tenor and Grolnick on piano. Other standouts include "Latin Dance," with a great Sanborn flight on alto, and the remake of "Mr. Fonebone." It appeared on Source as well, but is much faster and more aggressive here, and Lee is less busy than Jaco Pastorius was. "I Hear a Rhapsody" contains an excellent, deeply emotional solo by Michael Brecker, though the tune itself is a bit flowery for this recording. In sum, however, Papa Lips is a fine record; it is still slick but that's how they made jazz records in the '80s but it's sheer musicality, muscle, and sophistication make it an excellent listen. ~ Thom Jurek http://www.allmusic.com/album/papa-lips-mw0000778998

Personnel: Marvin Stamm, Lew Soloff, Randy Brecker, Laurie Frink (Trumpet); David Sanborn (Soprano saxophone, alto saxophone); Michael Brecker (Tenor saxophone, flute); Pete Yellin (Alto saxophone, flute); Lawrence Feldman (Tenor saxophone, flute, piccolo); Roger Rosenberg (Baritone saxophone, flute); Bob Mintzer (Tenor saxophone, flute, piccolo, clarinet); Dave Bargeron, Bob Smith, Keith O'Quinn (Trombone); Dave Taylor (Bass trombone on 1,2,4,5,6); George Moran (Bass trombone on 3); Don Grolnick (Piano); Will Lee, Tom Barney (Bass); Peter Erskine (Drums); Frankie Malabe (Congas); Carla Poole (Fluteon 6).

Papa Lips

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Cal Tjader Quartet - Jazz At The Blackhawk

Styles: Vibraphone Jazz 
Year: 1957
File: MP3@320K/s
Time: 44:04
Size: 103,0 MB
Art: Front

(6:56)  1. Bill B.
(4:06)  2. Land's End
(6:15)  3. I'll Remember April
(4:42)  4. Blues In The Night
(3:43)  5. Thinking Of You, MJQ
(3:39)  6. I've Never Been In Love Before
(5:15)  7. Two For Blues Suite
(4:55)  8. When The Sun Comes Out
(4:29)  9. Lover, Come Back To Me

Latin jazz collectors note: the title emphatically is Jazz at the Blackhawk, and even the most determined listener will not find an iota of Cal Tjader's explorations of Latin rhythms here. In its place, we get a sturdy set of bop-flavored workouts by Tjader's expert quartet, recorded live in San Francisco's famous long-defunct nightspot. Tjader himself often sounds like Milt Jackson as he handles the mallets fluidly through a set of standards, a pair of originals by himself and his wife, and appropriately enough a witty Baroque-like tune by his pianist Vince Guaraldi called "Thinking of You, MJQ." Eugene "The Senator" Wright (bass) and Al Torre (piano) make up the bop rhythm section, and as long as you know what you're getting, a good time can be had. ~ Richard S.Ginell http://www.allmusic.com/album/jazz-at-the-blackhawk-mw0000203638

Personnel: Cal Tjader (vibraphone); Vince Guaraldi (piano); Gene Wright (bass); Al Torre (drums).

Jazz At The Blackhawk

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Steely Dan - Doing It In California: The 1974 Broadcast Collection

Styles: Vocal And Guitar Jazz
Year: 2015
File: MP3@320K/s
Time: 80:39
Size: 185,7 MB
Art: Front

(8:10)  1. Do It Again (Live)
(4:43)  2. Rikki Don't Lose That Number (Live)
(5:08)  3. King Of The World (Live)
(3:23)  4. Any Major Dude (Live)
(4:41)  5. Barrytown (Live)
(5:30)  6. My Old School (Live)
(5:41)  7. Pretzel Logic (Live)
(4:45)  8. Reelin' In The Years (Live)
(3:55)  9. This Is All Too Mobile Home (Live)
(5:19) 10. Bodhisattva (Live)
(7:02) 11. The Boston Rag (Live)
(4:14) 12. Brooklyn (Owes The Charmer Under Me) (Live)
(0:58) 13. Funky Scare Tactic Orchestra Blues (Live)
(3:58) 14. Dirty Work (Live)
(1:29) 15. Your Gold Teeth Ii (Live)
(7:04) 16. Show Biz Kids (Live)
(4:30) 17. Do It Again (The Midnight Special, April 13th 1973) (Live)

Partly because of Donald Fagen's reluctance to sing onstage, partly due to he and Walter Becker's perfectionism, and partly because the pairs' compositions and arrangements were so complex - requiring all manner of studio hardware to reproduce Steely Dan played very few live concerts during their early career, indeed by the middle of 1974 they had given up touring entirely. The one album they did promote on the road however was their third masterpiece, the enigmatically titles 'Pretzel Logic', released in the USA on February 20th 1974. The tour started on March 9th, and this CD features the complete second show played by the group, at the University Of California the following night. The gigs would continue until July 1974 - after which Steely Dan would not play live again until they reunited in 1992. This excellent live broadcast recording is, therefore, quite a rarity; not only does it showcase the very best of the songs from Steely Dan's first three albums, it also features This All Too Mobile Home, a number that was never recorded in the studio. Furthermore, the remarkable version of Your Gold Teeth II included here is wholly different to the song of that name later released on the album 'Katy Lied' Bonus cuts here are taken from Dan's gig at the Ellis Auditorium in Memphis on the April 30th '74, plus a version of Do It Again recorded for the long running TV series 'Midnight Special' on which Steely Dan had been special guests a year earlier, in April 1973. ~ Editorial Reviews https://www.amazon.com/Doing-California-Steely-Dan/dp/B014MGPI2W

Doing It In California: The 1974 Broadcast Collection

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Jack DeJohnette - Hudson

Styles: Jazz, Post Bop
Year: 2017
File: MP3@320K/s
Time: 72:01
Size: 168,9 MB
Art: Front

(10:57)  1. Hudson
( 5:30)  2. El Swing
( 8:16)  3. Lay Lady Lay
( 6:01)  4. Woodstock
( 9:14)  5. A Hard Rain's A-Gonna Fall
( 5:29)  6. Wait Until Tomorrow
( 8:36)  7. Song for World Forgiveness
( 3:58)  8. Dirty Ground
( 5:04)  9. Tony Then Jack
( 5:36) 10. Up on Cripple Creek
( 3:15) 11. Great Spirit Peace Chant

Rightly vaunted as a 'supergroup,' specifically in the Tony Williams Lifetime mold, this eponymously titled band really does qualify as a super quartet, so much so that any background information on these four protagonists would seem superfluous. However it should be noted that John Scofield and John Medeski have teamed-up on occasion with Medeski, Martin & Wood and Scofield and Jack DeJohnette first played together forty years ago and more recently in their Trio Beyond with organist Larry Goldings.  What is perhaps different with this album is around half the tracks are popular numbers from the greats days of the Woodstock and beyond. The remaining half comprises originals. Fittingly, the group first played a gig together at the 2014 Woodstock Jazz Festival and the vibe that they experienced then encouraged them to pursue the project, culminating in this record. The quartet's name is inspired by the beauty of the Hudson River from which Woodstock is but a few miles away, indeed virtuoso bassist Larry Grenadier is himself a resident of the Hudson Valley. The opening, groove-laden title track certainly displays influences of Lifetime and early Seventies electric-period Miles Davis too. The longest track at nearly eleven minutes, it offers kaleidoscopically mesmeric performances with Scofield even inserting a cheeky quote from "The Peanut Vendor." Things settle down a little with Scofield's "El Swing," the Iberian-influenced head leading into the guitarist evincing some biting, fluid soloing. The covers of Bob Dylan's "Lay Lady Lay" and Joni Mitchell's "Woodstock" are given respectful treatments, the former with Scofield carving out the melody with bright-toned guitar, the latter, emotionally-charged and instantly reminiscent of the Crosby, Stills, Nash & Young version.

At nearly ten minutes, Dylan's "A Hard Rain's A-Gonna Fall" undergoes a transformation. The melody is dispensed with early on although briefly repeated at the end. In between is a melee of spacey sound, dominated by Medeski's Hammond B-3 channelling the late Larry Young. On "Wait Until Tomorrow" from Axis: Bold As Love, Scofield absolutely cracks Hendrix's tone and attack. DeJohnette's elegiac "Song For World Forgiveness" conjures-up the spirit of Woodstock, abounding with Scofield's glissando-rich guitar. DeJohnette provides the vocals to "Dirty Ground," the song he co-wrote with Bruce Hornsby and which appeared on his 2012 album Sound Travels. Scofield's straight ahead "Tony Then Jack" is a paean to the late Tony Williams, its title carrying the implicit message that DeJohnette is the natural successor to Williams. Robbie Robertson's "Up On Cripple Creek" is given a laid-back, homespun feel, Scofield's guitar nonchalantly tearing-up the melody. The final number, replete with wooden flutes, tom-tom and chanting vocals, is DeJohnette's "Great Spirit Peace Chant" recalling the saxophonist Jim Pepper's Native American-influenced music. Indeed, DeJohnette can be seen performing Pepper's famous "Witchitai-To" on YouTube. This immediately accessible album is undoubtedly going to make waves and make jazz a lot of friends even outside of the jazz fraternity. The quartet combines unique skills and powers of invention to create over seventy minutes of fascinating interpretations and solid originals. As a group, they sound like they've been playing together forever and the music just seems to flow effortlessly, just like the Hudson. ~ Roger Farbey https://www.allaboutjazz.com/hudson-review-by-roger-farbey.php

Personnel: John Scofield: guitar, wooden flute; John Medeski: piano, rhodes, Hammond B-3 organ, wooden flute, vocals; Larry Grenadier: acoustic bass, vocals; Jack DeJohnette: drums, tom-tom, wooden flute, vocals.

Hudson

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