Phil Woods - Real Life

Styles: Saxophone And Clarinet Jazz
Year: 1991
File: MP3@320K/s
Time: 68:54
Size: 160,4 MB
Art: Front

(7:32)  1. Real Life
(9:52)  2. Quill
(5:52)  3. Idols
(8:44)  4. Loose Change
(6:30)  5. Waltz for Harry
(5:05)  6. Sail Away
(8:39)  7. Laddy Buck
(6:59)  8. Bouquet
(6:22)  9. Viable Blues
(3:17) 10. How's Your Mama!

During a major portion of his career, Phil Woods predominately led a quartet or quintet, so the opportunity to work with his Little Big Band gave him a special pleasure, by expanding both the brass and reeds to an octet. His third release to feature the octet includes his working quintet at the time, including trombonist Hal Crook, pianist Jim McNeely, plus his longtime rhythm section, bassist Steve Gilmore and drummer Bill Goodwin. Guests include Woods' former sideman trumpeter/flugelhornist Tom Harrell, alto and baritone saxophonist Nick Brignola, plus alto and tenor saxophonist Nelson Hill. Although the economics of touring with a band this size made it impossible to tour, the musicians dove into the difficult arrangements with plenty of gusto and end up sounding as if they had been playing them in concert for months. McNeely's challenging "Real Life" is especially inspired, while Woods is joined by both Brignola and Hill on alto saxes for a bluesy rendition of "Quill," a tribute to Woods' former partner, Gene Quill. The leader switches to clarinet for the powerful "Waltz for Harry," written in memory of Woods' former guitarist, Harry Leahey; Harrell's warm flugelhorn and McNeely's piano solo are also featured. Harrell's "Sail Away," one of his most important compositions, is arranged by Woods to feature Crook's potent trombone. The program ends with a boisterous rendition of Woods' usual set closer, including snatches of several pieces, among themDizzy Gillespie's famous introduction to "All the Things You Are," a blistering bit of "52nd Street Theme," plus the closing tags of "Salt Peanuts" and "Harlem Nocturne." Sadly, this would be the final recording of this octet, as the death of Nick Brignola in 2002 prevented a reunion of this particular lineup of jazz all-stars. ~ Ken Dryden http://www.allmusic.com/album/real-life-mw0000265141

Personnel: Phil Woods (alto saxophone, clarinet),  Nelson Hill (tenor & alto saxophone),  Nick Brignola (alto & baritone saxophone),  Tom Harrell (trumpet),  Hal Crook (trombone),  Jim McNeely (piano), Steve Gilmore (bass), Bill Goodwin (drums).

Real Life

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Stanton Moore - Groove Alchemy

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 54:13
Size: 124,9 MB
Art: Front

(4:32)  1. Squash Blossom
(4:48)  2. Pie-Eyed Manc
(4:35)  3. Pot Licker
(4:46)  4. Root Cellar
(5:22)  5. Keep on Gwine
(6:17)  6. Neeps and Tatties
(3:57)  7. Up To Here
(5:09)  8. Knocker
(5:11)  9. Shiftless
(4:12) 10. Cleanse This House
(2:09) 11. Aletta
(3:09) 12. He Stopped Loving Her Today

Those expecting anything revolutionary or particularly new from Stanton Moore's trio with guitarist Will Bernard and Robert Walter on B-3 on Groove Alchemy will either be wonderfully relieved or woefully disappointed -- there isn’t. The CD is aural evidence of the trio doing what it does best: being funky and playing in a relaxed, open style that keeps the grooves tight and the musicianship at a maximum. And it's enough.Check out the guitar and organ solos in “Squash Bottom,” the first of these dozen tracks. The popping vamps create the vibe and give way naturally thanks to Moore’s deadly breaks to Bernard’s multi-string chord solo and the percussive organ flow Walter is so famous for. Things get downright Meters-esque on “Pie-Eyed Manic,” with stuttering breaks and two sets of riffs answering one another after four bars apiece. And on it goes, though “Pot Licker” is the funkiest Walter has ever sounded on the B-3. Bernard pushes his chords and leads right through the melody to let the left-hand organ bassline stick out front. Moore just rolls through and develops his grooves as he plays. There is a cover of James Booker's “Keep on Gwine” on which Walter plays piano. 

Though he does so beautifully, it’s more about Moore’s ability to let his Crescent City, second-line swing develop and carry the tune. There’s a longish cover of “Neeps and Tatties” that becomes an outright rhythm brawl between Walter and Moore, as Bernard just eases into the flow and lets the knottier side of his guitar style get into the fray all without letting the groove lilt. The real curve ball on this set is in its final track, a cover of the George Jones’ country vehicle “He Stopped Loving Her Today.” Bernard leads the way with his guitar on the melody, and Moore plays doubles on the front side rather than the backbeat. It’s still a ballad, but one that carries a distinctly New Orleans feel as it swells toward the end. Groove Alchemy is simply a good-time funky record, full of great beats, killer guitar, and nasty organ by a trio that knows how not to mess up a good thing. ~ Thom Jurek http://www.allmusic.com/album/groove-alchemy-mw0001969510

Personnel: Stanton Moore (drums); Will Bernard (guitar); Robert Walter (piano, Hammond b-3 organ)

Groove Alchemy

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Lyambiko - Love Letters

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 55:59
Size: 132,2 MB
Art: Front

(4:08)  1. Star Eyes
(4:47)  2. Things Are Looking Up Again
(3:54)  3. Some Day My Price Will Come
(4:46)  4. Home
(2:57)  5. Love In Letters
(5:30)  6. There Is No Greater Love
(3:04)  7. Till There Was You
(3:54)  8. Summer Morning
(4:51)  9. Close Your Eyes
(3:49) 10. Answer Me
(5:04) 11. Under A Blanket Of Blue
(3:55) 12. When You're Not There
(5:15) 13. Stardust

The singer Lyambiko was born in the German state of Thuringia and grew up in a musically active family. Her grandfather was already a member of a jazz combo back in the 1930's, and her father sang in both a church choir and in jazz and world-music bands in his native Tanzania. As a child, Lyambiko took lessons on the saxophone and the clarinet and in classical singing, and played the tenor sax in her music school's big band. She was only 17 when she founded her first band as a singer (folk, pop and blues), and was the youngest entrant in a band contest where she won her first studio recording. After a longer break from making music, Lyambiko moved to Berlin in 1999. As part of her preparations for the entrance exam for that city's College of Music she took singing and piano lessons, and rehearsed a small repertoire of jazz standards. Concerts in Berlin jazz clubs followed with different ensembles, and a regular spot in a guitar duo entitled "Lyambiko  Strange Fruit". Thanks to a recommendation from the singer Mark Murphy, Lyambiko had the chance to appear in the well-known club A-Trane in April 2000.

In April 2001 Lyambiko first gave her name to the successful quartet with which she then extended her concert activities to the rest of Germany, and later on to other European countries and to the USA. In 2003 the Boston Globe described Lyambiko as "the most promising vocalist jazz has seen in a long, long time". Two acclaimed Cd's were released by Nagel/Heyer before the quartet signed with Sony BMG in 2005. These first two albums stayed in the top ten of the jazz charts for several weeks at a time, and after her move to the major label Lyambiko released her self-named Cd, a "collection of beautiful jazz standards" and then with Love... and then "a sugar-free contemporary reflection on love" (Berliner Zeitung). Each of these two productions was awarded in Germany with the Jazz Award. In February 2007 Sony BMG released Lyambiko's next album, Inner Sense, to which the singer contributed two songs from her own pen for the first time. Apart from two pop/rock covers, the album features solely original compositions, and was positively received by the press as a successful step towards musical independence: "Lyambiko exudes more charisma on 'Inner Sense' than ever before" (Jazzthing). In addition to her jazz projects, the singer with Tanzanian roots worked on a program of African music together with a youth choir for the first time in 2007. February 2008 sees the release of her new Cd Saffronia (Sony BMG). After five albums, Lyambiko now feels ready to bring out a tribute to Nina Simone, who inspired her in 2000 to embark on a career as a jazz singer. After her tribute to Nina Simone, "Saffronia“ (2008), which aroused the first substantial interest in the artist in France as well, Sony Music releases Lyambiko’s new album "Something Like Reality" in June 2010. http://www.lyambiko.com/eng/index.php?page=543713372&f=1&i=543713372

Love Letters

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Jay McShann - The Band That Jumps The Blues

Bitrate: MP3@320K/s
Time: 33:33
Size: 76.8 MB
Styles: Bllues-Jazz, Swing
Year: 1973/2011
Art: Front

[2:31] 1. Hot Biscuits
[3:03] 2. Slow Drag Blues
[2:27] 3. M. R. Boogie
[2:37] 4. Buttermilk
[3:44] 5. Skidrow Blues
[2:35] 6. Soft Winds
[2:59] 7. No Name Boogie
[2:41] 8. Thinking About My Baby
[2:24] 9. Geronimo
[2:54] 10. Twelve O'Clock Whistle
[2:31] 11. Mellodrag
[3:01] 12. Eatin' Watermelon

This collector's LP from the British Black Lion label features pianist Jay McShann during his post-war period, when he was often based in Los Angeles and recording for Swingtime. McShann backs singer Jimmy Witherspoon on "Skid Row Blues" (the alternate take is the one included), and vocalist Crown Prince Waterford is on one number. Otherwise, McShann heads medium-size bands from 1948-49 that mostly lack any big names, although the young trumpeter Art Farmer and tenor saxophonist Maxwell Davis make appearances. There are a few vocals by Lois Booker and Maxine Reed, but the emphasis is on ensemble work and concise solos that fall between swing and early R&B. Spirited music, most of which has not been fully reissued on CD yet. ~Scott Yanow

The Band That Jumps The Blues

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Kay Starr - Movin'!

Bitrate: MP3@320K/s
Time: 29:49
Size: 68.3 MB
Styles: Jazz vocals
Year: 1959/2011
Art: Front

[1:52] 1. On A Slow Boat To China
[3:09] 2. I Cover The Waterfront
[1:53] 3. Around The World
[2:38] 4. Sentimental Journey
[2:46] 5. Night Train
[2:09] 6. Riders In The Sky (A Cowboy Legend)
[3:39] 7. Goin' To Chicago Blues
[2:14] 8. Indiana (Back Home Again...)
[2:23] 9. Song Of The Wanderer
[2:16] 10. Swingin' Down The Lane
[2:21] 11. Lazy River
[2:24] 12. Movin'

Movin' marked Kay Starr's return to Capitol after a four-year spell with RCA. RCA had Starr cut "Rock & Roll Waltz" and the Rockin' with Kay album, but Capitol sought to "reaffirm her status as a great jazz vocalist," as the Movin' liner notes say. The dozen songs are mostly jazz and pop standards arranged by Dave Cavanaugh with Van Alexander for a big band on most selections. A few others feature arrangements for five trombones and a rhythm section, reminiscent of the Four Freshmen's 1956 album Four Freshmen and 5 Trombones, another Capitol product. The album's emphasis on rhythm may have hinted at rock & roll, but Movin' delivers pure big band and traditional pop music with a swingin beat and Starr's soulful phrasing. Only the cowboy tale "Riders in the Sky" strays from the album's pure pop and jazz trajectory, although even that enjoyed wide currency in pop circles. Movin' yielded no hits, and one suspects that Capitol may have wooed Starr back by letting her record more of the music she liked. ~Greg Adams

Movin'

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Deodato - Somewhere Out There

Bitrate: MP3@320K/s
Time: 39:57
Size: 91.5 MB
Styles: Jazz, R&B, Pop
Year: 1989
Art: Front

[4:19] 1. Everybody Wants My Girl
[4:28] 2. The Best Lovers (Are The Best Friends)
[4:35] 3. In This World
[3:54] 4. I Believe In This Love
[3:22] 5. Where Can You Run
[4:32] 6. When A Lover Says Goodbye
[5:30] 7. Forever For You
[4:31] 8. Stay With Me
[4:42] 9. Somewhere Out There

In between all those arranging gigs for everyone from Jobim and Astrud Gilberto to Sinatra, Wes Montgomery and Earth, Wind & Fire, Deodato made many of his own albums for lots of labels from the '60s to the '80s. He does dance-pop with style on this 1989 Atlantic LP: Everybody Wants My Girl; Somewhere out There; In This World , and more!

Somewhere Out There

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Anne Chris - Tomorrow Is Today

Bitrate: MP3@320K/s
Time: 56:33
Size: 129.5 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[3:17] 1. Tomorrow Is Today
[5:53] 2. Long Years
[4:29] 3. New Worlds
[3:51] 4. Let's Stay Together
[4:16] 5. Wandering
[4:18] 6. Empty Road
[5:23] 7. Visions
[5:09] 8. This Is Always
[3:53] 9. You're Everything
[6:09] 10. The Thrill Is Gone
[3:41] 11. Sabia
[6:08] 12. This Is For Me

Singer & composer Anne Chris graduated from the Conservatory of Amsterdam in 2001. She then went on to take postgraduate studies at the same conservatory, during which she specialised in writing her own compositions. In 2003 she concluded her training at the conservatory with a performance in het Bimhuis in Amsterdam during the Graduation Jazz Festival. In July of the same year she performed with her band at the North Sea Jazz Festival.

In March 2004 Anne Chris recorded her debut CD, entitled 'Tomorrow is today', which was released by the Jazz Impuls Foundation. On this cd she sang different styles; in addition to jazz standards, she also recorded a Brazilian song and her own compositions.

Tomorrow Is Today

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Scott Henderson, Jeff Berlin, Dennis Chambers - HBC

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 59:28
Size: 136,7 MB
Art: Front

(10:16)  1. Actual Proof
( 6:58)  2. Mysterious Traveller
( 8:45)  3. Footprints
(11:57)  4. D Flat Waltz
( 3:25)  5. The Orphan
( 5:18)  6. Sightseeing
( 4:21)  7. Wayward Son Of Devil Boy
( 3:09)  8. Threedom
( 5:15)  9. Stratus

Not simply a super-group, but more like a jazz-fusion superpower as this formidable trio melds classic fusion works amid a few originals on its debut release, although the artists have crossed paths over the years. Bios and resumes would transcend the limitations of a review or analysis. So, it's the in-your-face attitude, creative impetus, and the respective musicians' gargantuan chops that account for a passionate exposition. Guitarist Scott Henderson's enviable technique as a monumental blues-rock soloist shines on his "Wayward Son of Devil Boy," inflicting pain on his axe via some serious shedding and molding a blues-with-a-vengeance stance with blazing fills, detuned extended notes and wailing choruses. But the preponderance of the album offers an abundance of cunning insights and spins on pieces such as drummer Billy Cobham's jazz-fusion anthem "Stratus." Then again it would be a sacrilege to ignore this trend-setting classic. Here, all-universe session drummer Dennis Chambers slams the backbeat into overdrive in concert with bass great Jeff Berlin's sinuous fretless bass lines. Owing to the original recording, Henderson abides by late guitarist Tommy Bolin's tension and release buildup, and then goes off the radar with stratospheric licks, leading to the heavy metal-like finale.

Henderson morphs polytonal chord voicings to execute a translation of pianist Herbie Hancock's funkified "Actual Proof," where Berlin unleashes a mindboggling solo, awash with twirling notes and breakneck linear runs. Henderson injects some spacey electronic treatments and spatial attributes into saxophonist Wayne Shorter's title track from Weather Report's Mysterious Traveler (Columbia, 1974), raising the bar with edgy and distorted crunch chords while reshaping and reconfiguring the primary theme, tinted with a rather ominous rite of passage.  HBC also integrates a pure jazz element into Shorter's "Sightseeing," offset by the artists' expressive solo spots and streaming background effects, all the while prepping for the kill towards the coda as Berlin thumps and plucks his bass strings into submission. Sure, he's all over the place, but lessons learned will dictate that he makes every note count, marked by his lyrical thematic statements and a technique to die for. Other than the instrumentalists' technical mastery, these works' construction lend to a refreshing glimpse of the proverbial roads previously traveled. From a holistic perspective of the jazz-fusion genre, it doesn't get a whole lot better.~ Glenn Astarita https://www.allaboutjazz.com/hbc-scott-henderson-tone-center-review-by-glenn-astarita.php

Personnel: Scott Henderson: guitar; Jeff Berlin: bass; Dennis Chambers: drums.

HBC

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Awa Ly - Five and a feather

Styles: Vocal, Soul, R&B
Year: 2016
File: MP3@320K/s
Time: 41:52
Size: 97,0 MB
Art: Front

(3:34)  1. Storyteller
(3:30)  2. Let you down
(3:41)  3. Let me love you
(3:44)  4. Help you out
(3:33)  5. Here
(4:30)  6. Friendship
(3:37)  7. Sunflowers
(3:29)  8. You will be mine
(4:22)  9. Stranger
(3:56) 10. Wide open
(3:51) 11. I'll be gone (bonus track)

One night, Awa had a dream ... The atmosphere was enchanted, as mystic, nimbed in a scenography summoning the moon, the Earth and the elements. An ancestral mixture between the Indians of America and Africa, the shaman was there, expressing himself in an unknown tongue, telling real or fantasized stories. These accounts, she received others, appropriated them, impregnated them, shared their joy, relieved pain or contained sadness. Upon awakening, the shamanic narrator had fainted but her presence was still palpable, Awa made the storyteller of this new album: Five and a Feather. This album was directed by Jean Lamoot and Pascal Danaé (Victory of the Music 2015, category music of the world with their group Rivière Noire Collaborations with Black Désir, Bashung, Salif Keita, Gainsbourg, Giberto Gil, Peter Gabriel, Ayo, Mayra Andrade ) with the participation of Faada Freddy, Paco Sery, Ballake Sissoko, Greg Cohen and Slow Joe. https://www.amazon.fr/Five-Feather-Awa-Ly/dp/B01BESGO1A

Five and a feather

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Magnus Lindgren - Batucada Jazz

Styles: Flute Jazz
Year: 2009
File: MP3@320K/s
Time: 62:28
Size: 148,6 MB
Art: Front

(6:51)  1. Alligator
(5:45)  2. Elbow Style
(4:18)  3. Rio Shadow
(4:08)  4. Copaflat
(6:25)  5. Soofa
(3:29)  6. Farofa
(6:19)  7. Flutish
(4:38)  8. Dalodrum
(3:37)  9. Djungeldance
(6:32) 10. Batacuda Jazz
(3:27) 11. Never Let Go
(6:55) 12. No More Words

Magnus Lindgren is a young Swedish jazz sax and flute player, arranger, composer and bandleader who is rapidly becoming a top name in Europe working with many of the most famous jazz artists. This album which features all original songs composed and arranged by Magnus was recorded in Rio de Janeiro, Brazil and features several outstanding Brazilian and European musicians. The result is a remarkable album with very strong influences of Brazilian music and rhythms but also with a definite jazz quality throughout. ~ Editorial Reviews https://www.amazon.com/Batucada-Jazz-Magnus-Lindgren/dp/B00280NYN0

Personnel: Magnus Lindgren (vocals, guitar, flute, clarinet, reeds, tenor saxophone, percussion); Pirulito, Armando Marçal (vocals, percussion); Leonardo Amuedo (guitar); Kiko Continentino (piano); Magnus Persson (drums); Sebastian Notini, Robert Ikiz (percussion)

Batucada Jazz

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Ron Carter - Live At Theaterstübchen Kassel

Styles: Jazz, Post Bop
Year: 2017
File: MP3@320K/s
Time: 68:03
Size: 177,2 MB
Art: Front

(12:16)  1. Laverne Walk
( 6:47)  2. Candle Light
( 7:46)  3. Golden Striker
( 7:20)  4. Samba de Orfeu
( 9:14)  5. Eddie's Theme
( 7:26)  6. A Nice Song
(10:44)  7. My Funny Valentine
( 6:26)  8. Cedar Tree (Bonus Track)

The epitome of class and elegance without the stuffiness, Ron Carter has been a world-class bassist and cellist since the '60s. He's among the greatest accompanists of all time, and has made many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets. His bowed solos are almost as impressive as those done with his fingers. Carter has been featured in clothing, instrument, and pipe advertisements; he's close to being the bass equivalent of a Duke Ellington in his mix of musical and extra-musical interests. Carter's nearly as accomplished in classical music as jazz, and has performed with symphony orchestras all over the world. He's almost exclusively an acoustic player; he did play electric for a short time in the late '60s and early '70s, but he didn't used it for many, many years. Carter began playing cello at ten. But when his family moved from Ferndale, Michigan to Detroit, Carter ran into problems with racial stereotypes regarding the cello and switched to bass. He played in the Eastman School's Philharmonic Orchestra, and gained his degree in 1959. He moved to New York and played in Chico Hamilton's quintet with Eric Dolphy, while also enrolling at the Manhattan School of Music. Carter earned his Master's degree in 1961. After Hamilton returned to the West Coast in 1960, Carter stayed in New York and played with Dolphy and Don Ellis, cutting his first records with them. He worked with Randy Weston and Thelonious Monk, while playing and recording with Jaki Byard in the early '60s. Carter also toured and recorded with Bobby Timmons' trio, and played with Cannonball Adderley. He joined Art Farmer's group for a short time in 1963 before he was tapped to become a member of Miles Davis' band.

Carter remained with Davis until 1968, appearing on every crucial mid-'60s recording and teaming with Herbie Hancock and Tony Williams to craft a new, freer rhythm section sound. The high-profile job led to the reputation that's seen Carter become possibly the most recorded bassist in jazz history. He's been heard on an unprecedented number of recordings; some sources claim 500, others have estimated it to be as many as 1,000. The list of people he's played with is simply too great to be accurately and completely cited. Carter's been a member of New York Jazz Sextet and New York Jazz Quartet, V.S.O.P. Tour, and Milestone Jazzstars, and was in one of the groups featured in the film Round Midnight in 1986. He's led his own bands at various intervals since 1972, using a second bassist to keep time and establish harmony so he's free to provide solos. Carter even invented his own instrument, a piccolo bass. He's contributed many arrangements and compositions to both his groups and other bands, and made duo recordings with either Cedar Walton or Jim Hall. He's recorded for Embryo/Atlantic, CTI, Milestone, Timeless, EmArcy, Galaxy, Elektra, and Concord, and eventually landed at Blue Note for LPs including 1997's The Bass and I, 1998's So What, and 1999's Orfeu. At the dawn of the new millennium, Carter remained an active, in-demand artist, releasing a steady stream of albums and keeping a busy live schedule. 

When Skies Are Grey surfaced in early 2001, followed in 2002 by Stardust, Carter's tribute to the late bassist Oscar Pettiford. That same year, he joined saxophonist Houston Person for the duo's third album of standards, Dialogues. In 2006, another tribute album was released, Dear Miles, dedicated to Miles Davis, also on Blue Note. Several more small group solo albums followed including 2007's Japan-only It's the Time and 2008's Jazz and Bossa. In 2011, Carter delivered his first effort with big-band music, Ron Carter's Great Big Band featuring arrangements by conductor Robert M. Freedman and a bevy of name players including pianist Mulgrew Miller and drummer Lewis Nash. He then joined drummer Gerry Gibbs for two albums with 2013's Thrasher Dream Trio and 2014's We're Back. Also in 2014, Carter was backed by the WDR Big Band on My Personal Songbook. In 2016, the bassist once again paired with saxophonist Person for the duo album Chemistry. ~ Ron Wynn  https://itunes.apple.com/us/album/golden-striker-live-at-theaterst%C3%BCbchen-kassel-donald/id1226020388

Personnel:  Ron Carter – bass;  Donald Vega – piano; Russell Malone – guitar.

Live At Theaterstübchen Kassel

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Jimmy Smith - Home Cookin'

Bitrate: MP3@320K/s
Time: 69:52
Size: 159.9 MB
Styles: Bop, Soul-jazz
Year: 1959/2004
Art: Front

[6:32] 1. See See Rider
[5:17] 2. Sugar Hill
[3:54] 3. I Got A Woman
[5:54] 4. Messin' Around
[5:51] 5. Gracie
[6:51] 6. Come On Baby
[5:07] 7. Motorin' Along
[4:16] 8. Since I Fell For You
[6:32] 9. Apostrophe
[8:07] 10. Groanin'
[5:00] 11. Motorin' Along
[6:26] 12. Since I Fell For You

Drums – Donald Bailey; Guitar – Kenny Burrell; Organ – Jimmy Smith; Tenor Saxophone – Percy France. Recorded at Van Gelder Studios, Englewood Cliffs, NJ.

The Hammond organ mastery of Jimmy Smith is arguably nowhere as profound as on 1959's Home Cookin'. Support is provided by the formidable trio of drummer Donald Bailey, guitarist Kenny Burrell, and tenor Percy France. Here they couple a few understated cool R&B classics with their own originals. The almost dirge-like cadence of "See See Rider" is given a bluesy and low-key workout, featuring tasty interaction between Smith and Burrell. The languid pace churns steadily as they trade off impressive solos with almost palpable empathy. Burrell's "Sugar Hill" swings with a refined post-bop attack. His call-and-response with Smith conjures the pair's trademark give and take, which is assuredly one of the reasons the two maintained a five-plus-decade association. Ray Charles' "I Got a Woman" is nothing short of definitive as the upbeat rhythm immediately propels Smith and Burrell into an otherwise unassuming and practically infectious bounce. Also duly noted is the sturdy backing of Bailey, whose discerning and compact snare is impeccably suited to the arrangement. (Sadly, the track fades just as the band begin to really get loose.) "Messin' Around" and "Gracie" bring France on board, adding a subtle reedy texture to Smith's intricate and advanced melodies. "Come on Baby" is another Burrell composition that slinks with a soulful mid-tempo groove, allowing for some inspired soloing. The title perfectly captures the travelogue nature, proving that getting there is indeed half the fun. Jimmy Smith's voluminous catalog is remarkably solid throughout and Home Cookin' is a recommended starting place for burgeoning enthusiasts as well as a substantial entry for the initiated. [Some reissues add five additional cuts, including an alternate take of "Motorin' Along," two readings of the pop standard "Since I Fell for You" and an impressive cover of Jack McDuff's "Groanin'."] ~Lindsay Planer

Home Cookin'

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Hope Clayton - Introducing Hope Clayton

Bitrate: MP3@320K/s
Time: 63:21
Size: 145.1 MB
Styles: Jazz vocals
Year: 1986
Art: Front

[4:32] 1. That Old Devil Moon
[4:37] 2. Body And Soul
[4:44] 3. I Won't Dance
[5:40] 4. Little Girl Blue
[5:25] 5. New York State Of Mind
[3:00] 6. You'd Be So Nice To Come Home To
[5:21] 7. 'round Midnight
[2:31] 8. Bye Bye Blackbird
[2:50] 9. My Funny Valentine
[4:53] 10. How Long Has This Been Going On'
[2:35] 11. Somewhere
[1:55] 12. Them There Eyes
[2:16] 13. A Foggy Day
[2:23] 14. You Stepped Out Of A Dream
[2:23] 15. All The Things You Are
[5:04] 16. How Insensitive
[3:04] 17. Secret Love

An irresistible invitation to the fresh and vibrant sounds and interpretations of a masterful vocalist. Genres are mixed, artfully displaying Hope Clayton's singular spark of creativity and complimented by equally astute bass and piano. Her voice is like a clear stream while full of subtlety and depth. I love the moments of exquisitely exposed bass-only accompaniment in "That Old Devil Moon". Her flirtatious and flouncy "I Won't Dance". The originality of Billy Joel's "New York State of Mind", then her gut-wrenching delivery of" 'Round Midnight", which plummets us darkly down to the place where despair and loss reside. Full of nuance, range, and love of the craft, this CD satisfies in every way.

Introducing Hope Clayton

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Andre Persiani - The Real Me

Bitrate: MP3@320K/s
Time: 62:18
Size: 142.6 MB
Styles: Piano jazz
Year: 2008
Art: Front

[3:49] 1. If Dreams Come True
[4:06] 2. I Didn't Know What Time It Was
[8:49] 3. Gwendolyn
[4:23] 4. Straight Life
[4:26] 5. King Porter Stomp
[6:06] 6. Don't Worry About Me
[4:32] 7. The Real Me
[6:04] 8. What I Am Here For
[4:29] 9. Straight Life (Take 1)
[3:35] 10. I Didn't Know What Time It Was
[4:04] 11. King Porter Stomp (Take 1)
[7:48] 12. Gwendolyn (Take 1)

André Persiani, also known as Persiany, was a French jazz pianist, arranger, composer and bandleader who, "with his block-chord technique as the stylistic successor of Milt Buckner.

Persiany, from 1946 onwards, directed his own formations, a. with Joseph Reinhardt and Michel de Villers, played with the Be Bop Minstrels (1947/48) with Robert Mavounzy and Emmanuel Soudieux, as well as duo with the pianist Eddie Bernard. He was best known for his collaboration with American musicians such as Sidney Bechet, Don Byas and Bobby Jaspar (1953), Buck Clayton (1949), Lionel Hampton, Bill Coleman, Kenny Clarke (1948), Big Bill Broonzy, Albert Nicholas and Mezz Mezzrow, also under the pseudonym Jules Dupont in 1954 in the orchestras of Bernard Zacharias and Charlie Singleton, the latter also as a Celesta player. In January 1953 he accompanied Django Reinhardt with four numbers; he also wrote arrangements for Henri Salvador. In 1956, he moved to the United States for the first time, performing in the Metropole with Zutty Singleton, Charlie Shavers and Roy Eldridge, and Birdland. In 1956 he had the opportunity to record a big-band album for Columbia (Impressions in New York); he led the Big Band formation International Jazz Group, a. Seldon Powell, Taft Jordan, Lawrence Brown, Tyree Glenn and Eddie Barefield. In 1958 he accompanied Hildegard Knef (alias "Hildegarde Neff") with some of his songs by Boris Vian and Harry Warren / Al Dubin (Das Mädchen von Hamburg).

In the 1960s he worked in the quartet of trumpeter Jonah Jones; In 1970 he returned to France. There he continued his collaboration with Americans such as Charlie Shavers, Milt Buckner, Cat Anderson, Arnett Cobb / Eddie Chamblee and Budd Johnson as well as the French Christian Garros, Guy Lafitte, Gérard Pochonet and Bernard Vitet Le Furstemberg. He worked as an arranger, a. for Al Gray (Trombone by five, 1977). Among his recordings are Swinging Here and There (1958 for Pathé), The Real Me (1970, Black & Blue) and Every Night at Furstemburg (1977).

The Real Me

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Marian McPartland's The Hickory House Trio - Reprise

Bitrate: MP3@320K/s
Time: 63:14
Size: 144.8 MB
Styles: Bop, Piano jazz
Year: 1999
Art: Front

[6:15] 1. I Hear Music
[4:12] 2. Street Of Dreams
[4:45] 3. I Thought About You
[3:34] 4. Stella By Starlight
[5:41] 5. Falling In Love With Love
[3:04] 6. Last Night When We Were Young
[4:19] 7. In Your Own Sweet Way
[4:06] 8. New Orleans
[5:11] 9. Tickle Toe
[4:33] 10. Two For The Road
[4:29] 11. Symphony
[5:36] 12. Cymbalism
[7:25] 13. Things Ain't What They Used To Be

They were fixtures on New York's fabled 52nd Street in the mid-'50s, a crack piano trio consisting of McPartland on piano, bassist-turned-author Bill Crow, and then-little-known ace drummer Joe Morello. But in 1957, Dave Brubeck made Morello famous by astutely hiring him away from McPartland, then Crow joined Gerry Mulligan's sextet, and the engagement at the Hickory House ended in 1960. Much later, after two brief one-off reunions in the '90s, McPartland put together a couple of nights with the trio at the new Birdland, and they turned out a lovely, relaxed set of standards and one quirky McPartland original, "Cymbalism." It is a special pleasure to hear Morello who has appeared on only a handful of recordings in the previous quarter-century. Morello plays in a more laconic yet still ineffably swinging way than he once did, and Crow gets in lively, dancing solos on "Falling in Love With Love" and "Tickle Toe." Appropriately enough, one of the tunes is Brubeck's "In Your Own Sweet Way" where McPartland incorporates a few shadings in Brubeck's manner and Morello's brushes sound right at home. It's a nice souvenir that recalls a treasured time, one that doesn't sound at all quaint today. ~Richard S. Ginnell

Reprise

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Chuck Mangione - Greatest Hits

Bitrate: MP3@320K/s
Time: 63:43
Size: 145.9 MB
Styles: Easy Listening, Crossover jazz
Year: 1996/2010
Art: Front

[9:35] 1. Feels So Good
[6:26] 2. Hill Where The Lord Hides
[6:28] 3. Bellavia
[7:13] 4. Fun And Games
[3:16] 5. Children Of Sanchez
[8:57] 6. Land Of Make Believe
[6:09] 7. Give It All You Got
[4:53] 8. Chase The Clouds Away
[3:56] 9. Cannonball Run Theme
[6:47] 10. Doin' Everything With You

This Chuck Mangione compilation Greatest Hits collects many of the famed flügelhorn player's crossover jazz hits. Included are such tracks as his classic 1977 cut "Feels so Good," as well as his theme for the 1979 film Children of Sanchez, and the title track from his 1973 album "Land of Make Believe." ~Matt Collar

Greatest Hits

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Richie Beirach Trio - No Borders

Bitrate: MP3@320K/s
Time: 55:47
Size: 127.7 MB
Styles: Classical jazz
Year: 2009
Art: Front

[5:44] 1. Scenes From Childhood Op. 15 No. 1
[6:56] 2. Pathetique In C Minor Slow Movement
[5:08] 3. Gnossienne No. 1 In F Minor
[5:40] 4. Pavane In G Minor
[7:37] 5. Footprints In The Snow
[4:15] 6. Siciliano In G Minor
[8:10] 7. Impressions Intimas No. 1 In A Minor
[7:47] 8. Prelude For Piano No. 4 In E Minor
[4:25] 9. Steel Prayers Ballad For 9 11 Wtc

Double Bass – George Mraz; Drums – Billy Hart; Piano – Richie Beirach; Violin – Gregor Huebner (tracks: 5, 9). Recorded at "The Studio" in New York on May 7 and 8, 2002.

No Borders focuses on classical pieces as a basis for improvisation, and, on the other hand, also contains a completely composed original composition by Beirach: "Steel Prayers", a piece for the victims of 9/11. To take classical pieces and open them for improvisation, without depriving them of their character, is also the basic principle in the cooperation with violinist Gregor Hübner.

"Although somewhat underrated, Richie Beirach is a consistently inventive pianist whose ability to play both free and with lyricism makes him an original." ~Scott Yanow

No Borders

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Kenny Drew & Niels-H.O.Pedersen - Duo Live in Concert

Styles: Bop, Piano Jazz
Year: 1974
File: MP3@320K/s
Time: 70:24
Size: 161,5 MB
Art: Front

(9:44)  1. In Your Own Sweet Way
(5:26)  2. My Little Suede Shoes
(6:15)  3. You Don't Know What Love Is
(8:45)  4. My Shining Hour
(5:50)  5. Viking's Blues
(0:36)  6. Oleo
(6:36)  7. Do You Know What It Means to Miss New Orleans
(4:27)  8. Serenity
(6:04)  9. All Blues
(5:00) 10. Trubbel
(9:21) 11. There's No Greater Love
(2:14) 12. Oleo

“.. .the best in European jazz of 1975” (Record Collectors Journal)

“… (Drew) is now at the peak of his career. Duo Live In Concert is his third collaboration with bassist Niels Pedersen, and to hear those two solo voices together is a thrill…this album improves upon its excellent predecessors .” (Transition, N.Y.)

“… Duo Live abounds with an exuberance …” (Jazz Magazine, USA)

Personnel:  Kenny Drew – piano;  Niels-Henning Ørsted Pedersen - bass

Duo Live in Concert

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Joe Chambers - Mirrors

Styles: Jazz, Straight-ahead/Mainstream 
Year: 1998
File: MP3@320K/s
Time: 53:24
Size: 126,2 MB
Art: Front

(4:44)  1. Tu-Way-Pock-E-Way
(6:05)  2. Mirrors
(7:24)  3. Caravanserai
(7:09)  4. Ruth
(5:52)  5. Mariposa
(5:43)  6. Lady In My Life
(3:43)  7. Circles
(5:17)  8. Come Back To Me
(7:24)  9. Ruthless

Drummer Joe Chambers, 56, recorded his first Blue Note sessions as a youthful twenty year old, deeply immersed in the New York City jazz scene. While the 1960s were healthy years for the drummer’s professional development, the decade included many distractions for the jazz world. Fusion with rock music and the electronic revolution in equipment introduced many changes and several rifts. The music survived to witness its ‘90s comeback and usher in a generation of young lions. Leaders with whom Chambers worked and recorded in his early years include Joe Henderson, Bobby Hutcherson, Freddie Hubbard, Wayne Shorter, and Chick Corea. They’ve survived the changes as well, and each of them has remained true to his original ideas. Fred Jung’s interview with Joe Chambers contains a revealing look at the drummer’s spirit and professional goals. Seven of the nine pieces are the leader’s compositions. The two exceptions are pop favorites "Lady in My Life" and "Come Back to Me." "Mirrors" takes modern mainstream to its core with ride cymbal, walking bass, and solos from tenor saxophone, trumpet, piano & bass. "Caravanserai" issues a Middle Eastern mood, while "Mariposa" clears the air with a fast-moving arrangement led by Vincent Herring’s soprano sax. The quintet moves lightly but quickly, and in all directions at once - like a butterfly. As the ending nears, Chambers steps up to solo and the piece appears to have attracted a whole swarm of tiny butterflies. For "Circles" and "Lady in My Life" the leader adds vibraphone to the mix. His lyrical two-mallet approach is a little too percussive for the ballad. It’s more appropriate on "Circles," however, as Chambers gives the ensemble a rest and multi-tracks two vibraphones and drum set to provide a syncopated percussion adventure that’s similar to the work he’s done with Max Roach and M’Boom. There’s no hidden connection between "Ruth" and "Ruthless." One is a soft modal ballad featuring Herring’s alto and tempered by brushes and a bass interlude. The other is at the core of straight-ahead jazz, driven hard and culminating in fours with the drummer. Highly Recommended. ~ Jim Santella https://www.allaboutjazz.com/mirrors-joe-chambers-blue-note-records-review-by-jim-santella.php

Personnel: Joe Chambers- drums, vibraphone; Mulgrew Miller- piano; Ira Coleman- bass; Vincent Herring- tenor saxophone, alto saxophone, soprano saxophone; Eddie Henderson- trumpet.

Mirrors

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Joe Henderson - Tetragon

Styles: Saxophone Jazz
Year: 1968
File: MP3@320K/s
Time: 41:01
Size: 94,2 MB
Art: Front

(6:18)  1. Invitation
(5:38)  2. R.J.
(8:39)  3. The Bead Game
(5:40)  4. Tetragon
(4:29)  5. Waltz for Zweetie
(5:15)  6. First Trip
(4:59)  7. I've Got You Under My Skin

Joe Henderson's second Milestone recording (which, as with all the others, is currently available on his massive "complete" eight-CD box set) features the great tenor with two separate rhythm sections: Kenny Barron or Don Friedman on piano, bassist Ron Carter and either Louis Hayes or Jack DeJohnette on drums. Highlights of this album include the title track, "I've Got You Under My Skin" and "Invitation."~ Scott Yanow http://www.allmusic.com/album/tetragon-mw0000177166

Personnel:  Joe Henderson - tenor saxophone;  Kenny Barron – piano;  Ron Carter – bass;  Louis Hayes – drums;  Don Friedman: piano;  Jack DeJohnette: drums

Tetragon

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