Alphonso Johnson - Moonshadows

Styles: Jazz Fusion, Jazz Funk
Year: 1976
File: MP3@320K/s
Time: 41:08
Size: 94,2 MB
Art: Front

(4:21)  1. Stump
(6:10)  2. Involuntary Bliss
(6:15)  3. Cosmoba Place
(2:12)  4. Pandora's Box
(5:45)  5. Up From The Cellar
(4:43)  6. Amarteifio
(6:21)  7. On The Case
(5:16)  8. Unto Thine Own Self Be True

A good jazz-funk-fusion album by Weather Report's bass player Alphonso Johnson, a few songs like "Stump" picked up some disco plays. It's nice to hear an album by a player of a particular instrument where the player and his instrument play a prominent role. This album abounds with muscle bass riffs; unlike Idris Muhammad's (drummer) albums, where the drums are indistinguishable. Other notable tracks include "Involuntary Bliss," "Pandora's Box," and "On the Case."~ Andrew Hamilton http://www.allmusic.com/album/moonshadows-mw0000893150

Personnel:  Bass, Chapman Stick [Electric Stick], Vocals – Alphonso Johnson;  Drums – Ndugu Leon Chancler;  Drums, Keyboards – Narada Michael Walden;  Guitar – Chris Bond, David Amaro, Blackbird McKnight, Lee Ritenour;  Keyboards – Patrice Rushen;  Keyboards, Vocals – Dawilli Gonga;  Reeds – Bennie Maupin;  Soprano Saxophone – Gary Bartz;  Vocals – Flora Purim

Moonshadows

---

Bill Evans - Another Time: The Hilversum Concert

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 47:15
Size: 108,5 MB
Art: Front

(4:34)  1. You're Gonna Hear from Me
(5:21)  2. Very Early
(5:42)  3. Who Can I Turn To?
(5:37)  4. Alfie
(5:07)  5. Embraceable You
(4:30)  6. Emily
(8:44)  7. Nardis
(4:59)  8. Turn out the Stars
(2:37)  9. Five

As charmed good-luck magnets go, producer Zev Feldman is the jazz world's equivalent of the guy who keeps winning the lottery year after year. He and Resonance Records specialize in finding and curating unreleased gems to share with the wider world not dodgy bootlegs, but quality material in terms of content and sound and giving each discovery the respect it deserves. For such a legendary and extensively recorded artist as Bill Evans who's been gone almost four decades, it's easy to suspect all the Good Stuff is already out there, but you never know when the obvious assumption will be wonderfully proven wrong. Resonance's treatments of Evans began with a from-the-attic 1968 tape released as Live at Art D'Lugoff's Top of the Gate in 2012 (a performance with Eddie Gomez and Marty Morell). Lightning struck again with 2016's Some Other Time: The Lost Session from the Black Forest from June of the same year, the pianist's only studio recording during the six-month stretch when Jack DeJohnette occupied the drum chair. Perhaps it's only natural then, if extraordinarily fortunate, that a respectful enthusiast sought them out when looking to share another unheard recording made for Dutch public radio two days later. Lovingly presented with the blessing of Evans' estate, label and bandmates, Another Time is another gem of a find and a delight for committed and casual listeners alike.

The setting was an intimate studio in front of a small and traditionally respectful European audience, but the trio's performance is as sprightly and animated as that of a club date. Evans remains sophisticated and beautifully melodic as always, spinning his trademark chordings right from the first weaving harmonics of "You're Gonna Hear from Me." At the same time he's unmistakably energized by his cohorts, who coast at an infectious and spirited level throughout the set. DeJohnette's spry cymbal splashing and clattering rolls are tasteful enough to suit the tone of the show, while still showing the busy rhythmic sense that would get him drafted by Miles Davis for some much louder electric work in the next couple years. His bright fills propel the gang through a dynamic "Nardis" and a rousing finale of "Five" with a playful sense of fun; those points sound like they could have made the beginning of a cooking mid-set stretch, but sadly this broadcast's 48-minute running time doesn't allow for more extensive explorations. 

While Gomez admits to being a bit discontented with his bass tone and "Embraceable You" intro solo, the rendition here swings beautifully, and he stands out in spots like "Who Can I Turn To?" as well. He had been a factor in this phase of Evans' rhythmically focused late-career development for almost two years at this point, and the pair's comfortable rapport is a prime example of why they remained productive partners for almost a decade more. "When we later went on to [a residency at London's] Ronnie Scott's club... that's when it really opened up," the bassist hints during the album's extensive and thoughtful liners (another noteworthy asset to the package). It's most disappointing that there aren't any similarly high-quality tapes of their later run known to exist, but that makes it no less a pleasure to hear this particular group bursting with freshness and inspiration straight from the beginning of their brief time together. If Another Time turns out to be the last we hear from them, it will still shine as another highlight of the Evans catalogue not to be missed. ~ Geno Thackara https://www.allaboutjazz.com/another-time-the-hilversum-concert-bill-evans-resonance-records-review-by-geno-thackara.php

Personnel: Bill Evans: piano; Eddie Gomez: bass; Jack DeJohnette: drums.

Another Time: The Hilversum Concert

---

The Western Swing Authority - Now Playing

Bitrate: MP3@320K/s
Time: 38:28
Size: 88.1 MB
Styles: Western Swing
Year: 2015
Art: Front

[2:32] 1. Sweet Harriet
[3:17] 2. One Of Us Is Lying
[2:21] 3. Swing Thing
[3:37] 4. Livin’ A Dream
[2:40] 5. Miss Molly
[2:29] 6. Old Dance Floor
[3:36] 7. Slow Boat To China
[3:58] 8. Rocket To The Moon
[2:01] 9. Bapadoodle
[2:55] 10. Cowtown Queen
[4:05] 11. Swingtime Lullaby
[4:51] 12. The Last Waltz

Paul Chapman/Guitarist, Vocalist; Shane Guse/Strings, Vocalist; Stacey Guse/Vocalist; Dan Howlett/Strings, Vocalist; Matthew Lima/Bassist; Ed Ringwald/Guitarist; Jim Boudreau/Drummer.

In Texas, Bob Wills is still the king. And so far, bands like The Time Jumpers and Asleep at the Wheel have been the big names spreading the gospel of Western Swing around the world. But Canadian supergroup, The Western Swing Authority has, for the past few years, been quietly been adding their name to the list of Western Swing greats. Not bad for a band from the town of Kitchener, Ontario.

The Western Swing Authority is a unique collaboration of some of Canadas top studio and touring musicians who share a common love for authentic Western Swing. A group of seasoned professionals whose individual bios include multiple Canadian Country Music Awards, Juno nominations, and resumes that span from Gordon Lightfoot, to Michelle Wright to George Canyon, to Kellylee Evans. Their self-titled, debut album arrived to critical acclaim, and brought their music to people all around the worldon over 100 radio stations in Canada, The United States, Australia, Northern Ireland, Republic of Ireland, Scotland, Uruguay, Netherlands, Germany, England, New Zealand, Sweden, Austria, France, Denmark and Belgium!

Now Playing

---

Ella Fitzgerald - 100 Songs For A Centennial (4 parts)

Blessed with an instantly recognizable voice full of youthful exuberance and a three-octave range, noted for its pristine and pure tone, the legendary jazz singer Ella Fitzgerald is, along with singer Billie Holiday, the most important singer of the 20th century. She has been called "The Undisputed Queen of Jazz Singing" or "The First Lady of Song" and these nicknames simply reflect the remarkable and inimitable vocal abilities she possessed. While her incredible technical abilities were pretty much evident, when she sang, Lady Ella radiated with pure joy and a heartfelt passion. Ella lived to sing and loved to perform. Even singer Frank Sinatra, the Chairman of the Board when he sang a duet with her in an interview in 1959 admitted to being unnerved and said: "Ella Fitzgerald is the only performer with whom I've ever worked who made me nervous because I try to work up to what she does. You know, try to pull myself up to that height—because I believe she is the greatest popular singer in the world, barring none, male or female."

To mark the 100 years after her birth, 100 Songs For A Centennial Collection celebrates her long and illustrious career with a beautiful selection of songs drawing from the singer's Decca and Verve years when she was in her prime. As a starting point to Fitzgerald's work, this collection is unmatched by any other "best ofs" or "gold collections" and is an almost perfect compilation in that all of her most noted tracks are here. Spread onto 4 CDs, 100 Songs For A Centennial celebrates the crème of Fitzgerald's illustrious career and the selection moves chronologically highlighting every chapter from earliest punches to those unforgettable, timeless classics. Over that period, Ella recorded and performed with big bands, jazz groups, and symphonic orchestras. The breadth of her repertoire included all kinds of songs from jazz songs, carols, blues, calypsos, bossa-nova to Latin music, show tunes and opera, and this collection gives an opportunity to have it all in one place.

Ella began singing and dancing on the streets of Harlem for tips. Initially, her dream was to become a dancer and it was fate that one night while too intimidated to dance at a talent contest in 1934 at the Apollo Theatre instead she sang a song that simply silenced the dumbfounded audience and won her the first prize. Very soon she was invited to sing with the Chick Webb's Big Band, one of the hottest swing bands of the era that propelled dancers into orbit. Naturally, at the start she was unformed, but she had the ability to read music and to learn the songs in a second. While these songs are from another era and the sound quality is far from pristine, they still burst with joy and energy. There is something magical that is happening on each of these songs regardless of the era when these songs were recorded, arrangements is how Ella throws herself into the music. She invests herself thoroughly and her performances often transcend the material. It's her passion and joy that push any of these songs into the realm of greatness. This ability is what has always distinguished her from the lot or the ability to wring something out of any kind of song. Her biggest success came in June 1938, which eventually became the biggest hit of her career with "A-Tisket, A-Tasket" a bestselling record for three months at the time. Unfortunately, Webb suffered from tuberculosis and eventually died in 1939 with the orchestra continuing under her name up. When the orchestra broke in 1942 she pursued a career as a solo artist she became renowned for her virtuosity with the wordless vocals i.e. the scat singing. She wowed listeners on songs such as 'Oh Lady Be Good" with her vocal inventions that laid the foundation for her shift from a swing band singer to modern jazz diva.

Produced by Norman Granz, the Songbook series are one of Ella's career highlights and greatest achievements. Under his guidance, Ella firstly released Ella Fitzgerald Sings the Cole Porter Songbook and over the next decade, she would focus on the works of other composers such as George and Ira Gershwin, Richard Rodgers and Lorenz Hart, Irving Berlin, Duke Ellington, Harold Arlen, Jerome Kern, and Johnny Mercer. By 1964, she would record around 250 songs for this project. No other singer has surpassed the excellence of her delivery and interpretation. She elevated the works by these people to be recognized as art songs. Cole Porter who was mainly disinterested about how jazz performers have approached his work responded in exclaim to Fitzgerald's recordings of his music: "My, what marvelous diction that girl has." Even Ira Gershwin, upon hearing her interpretations, have said: "I didn't realize our songs were so good until Ella sang them." Further, the collection spreads to famed collaborations and material like the duet recordings with trumpeter and singer Louis Armstrong.

But the collection centers only on Ella's Decca and Verve years which really is her finest period. The compilation should have stretched further. After collapsing on stage in 1965 so began the decline of her health and change of fortune. Her contract with Verve was not renewed in 1966 and the quality of the material she released for Capitol was not Ella's most representative. Still, she performed with symphonic orchestras, she began working with pianist Tommy Flanagan, there are the famous duets with guitarist Joe Pass and the song book of Brazilian composer Antonio Carlos Jobim. Due to complications with diabetes, she had problems with her eyesight, heart problems but she still performed at least once a month to enthusiastic crowds until the '90s.

It's impossible to imagine today's music without Ella Fitzgerald. No singer can come close when Fitzgerald was in her prime when it comes to stylistic range, intonation, and stamina. Her performances often transcended the original material and the songs became a platform on which her voice could work miracles. Again, every song regardless of date of production in this collection is a masterclass in singing and many are considered standard jazz repertoire. She is able to sing these songs so effortlessly and to make them full of life and emotions. They are delivered in a sweet voice that could leap and glide with ease. Many singers who followed her in jazz cite her as an influence. But more remarkably, her influence has spread well beyond jazz. But, to be a lasting presence in jazz, one also has to have something to say that comes from your own life. As Charlie Parker said: "Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn (or your singing)." What Ella had was a signature sound where from the first note it is evident who is telling the story, her story. Each song in this collection showcases that she was and still is the First Lady of Song. ~NENAD GEORGIEVSKI

Album: 100 Songs For A Centennial Part 1
Bitrate: MP3@320K/s
Time: 73:20
Size: 167.9 MB
Styles: Jazz vocals
Year: 2017

[2:33] 1. Sing Me A Swing Song (And Let Me Dance)
[2:54] 2. If You Can't Sing It You'll Have To Swing It
[3:12] 3. Dedicated To You
[2:46] 4. Big Boy Blue
[3:18] 5. I Got A Guy
[2:36] 6. A-Tisket, A-Tasket
[2:34] 7. I Found My Yellow Basket
[3:05] 8. McPherson Is Rehearsin' (To Swing)
[2:49] 9. F.D.R. Jones
[3:17] 10. Undecided
[3:06] 11. I Want The Waiter (With The Water)
[2:55] 12. Imagination
[3:07] 13. Five O'clock Whistle
[2:52] 14. Cow Cow Boogie
[2:41] 15. When My Sugar Walks Down The Street
[3:09] 16. I'm Making Believe
[3:06] 17. Into Each Life Some Rain Must Fall
[3:13] 18. And Her Tears Flowed Like Wine
[2:42] 19. I'm Beginning To See The Light
[2:39] 20. It's Only A Paper Moon
[2:54] 21. You Won't Be Satisfied (Until You Break My Heart)
[2:37] 22. Stone Cold Dead In The Market
[3:07] 23. (I Love You) For Sentimental Reasons
[3:15] 24. My Happiness
[2:40] 25. Baby It's Cold Outside

100 Songs For A Centennial Part 1

---

Album: 100 Songs For A Centennial Part 2
Bitrate: MP3@320K/s
Time: 72:18
Size: 165.5 MB
Styles: Jazz vocals
Year: 2017

[3:13] 1. Oh Lady Be Good
[2:24] 2. That Old Feeling
[3:00] 3. I Hadn't Anyone Till You
[3:04] 4. Black Coffee
[2:43] 5. Soon
[2:46] 6. There Never Was A Baby Like My Baby
[2:25] 7. Walkin' By The River
[3:04] 8. Taking A Chance On Love
[2:55] 9. Until The Real Thing Comes Along
[3:04] 10. You Leave Me Breathless
[2:49] 11. Lullaby Of Birdland
[2:14] 12. Between The Devil And The Deep Blue Sea
[2:40] 13. It Might As Well Be Spring
[2:59] 14. Miss Otis Regrets (She's Unable To Lunch Today)
[2:20] 15. You Do Something To Me
[2:41] 16. I've Got You Under My Skin
[3:39] 17. Moonlight In Vermont
[5:51] 18. Cheek To Cheek
[2:48] 19. Manhattan
[2:02] 20. Thou Swell
[2:35] 21. I Wish I Were In Love Again
[3:10] 22. Blue Moon
[2:05] 23. Solitude
[2:24] 24. Comes Love
[3:10] 25. I've Got My Love To Keep Me Warm

100 Songs For A Centennial part 2

---

Album: 100 Songs For A CentennialPart 3
Bitrate: MP3@320K/s
Time: 77:39
Size: 177.8 MB
Styles: Jazz vocals
Year: 2017

[4:10] 1. Let's Call The Whole Thing Off
[5:11] 2. In A Mellow Tone
[2:43] 3. I Never Had A Chance
[3:26] 4. What Will I Tell My Heart
[4:59] 5. Summertime
[2:30] 6. Little White Lies
[2:45] 7. You Hit The Spot
[2:20] 8. You Brought A New Kind Of Love To Me
[2:56] 9. Let's Face The Music And Dance
[3:27] 10. Isn't This A Lovely Day
[2:14] 11. Puttin' On The Ritz
[2:19] 12. You Make Me Feel So Young
[3:08] 13. Moonlight Becomes You
[3:03] 14. Let's Fall In Love
[3:01] 15. My Old Flame
[3:02] 16. They All Laughed
[2:50] 17. I Can't Be Bothered Now
[2:35] 18. My One And Only
[3:06] 19. I Got Rhythm
[2:50] 20. Stairway To The Stars
[2:50] 21. Misty
[2:41] 22. Hooray For Love
[2:43] 23. Out Of This World
[3:23] 24. Come Rain Or Come Shine
[3:16] 25. Stella By Starlight

100 Songs For A Centennial Part 3

---

Album: 100 Songs For A Centennial Part 4
Bitrate: MP3@320K/s
Time: 77:14
Size: 176.8 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[2:18] 1. I Hear Music
[2:49] 2. Love Me Or Leave Me
[2:33] 3. Hallelujah, I Love Him So
[2:45] 4. The Very Thought Of You
[2:44] 5. Warm All Over
[3:01] 6. Almost Like Being In Love
[3:14] 7. All The Things You Are
[3:37] 8. A Fine Romance
[2:49] 9. Yesterdays
[2:40] 10. Honeysuckle Rose
[3:03] 11. On The Sunny Side Of The Street
[3:14] 12. Tea For Two
[3:31] 13. Trouble In Mind
[2:41] 14. See, See Rider
[2:36] 15. Can't Buy Me Love
[2:05] 16. The Sweetest Sounds
[3:10] 17. Skylark
[2:32] 18. Something's Gotta Give
[2:59] 29. Dream (When You’re Feeling Blue)
[3:42] 20. Cottontail
[4:12] 21. Duke's Place
[3:33] 22. Something To Live For
[3:00] 23. Whisper Not
[3:27] 24. Time After Time
[4:47] 25. Mack The Knife (Live In Berlin 1960)

100 Songs For A Centennial Part 4

---

Monty Alexander - The Good Life: The Music Of Tony Bennett

Bitrate: MP3@320K/s
Time: 58:09
Size: 133.1 MB
Styles: Piano jazz
Year: 2001
Art: Front

[5:31] 1. That Old Devil Moon
[5:07] 2. The Good Life
[7:09] 3. Smile
[6:10] 4. Maybe September
[6:40] 5. The Way You Look Tonight
[3:38] 6. Just A Little Street
[4:19] 7. Just In Time
[3:06] 8. Emily
[6:05] 9. Put On A Happy Face
[4:39] 10. I Wanna Be Around
[3:17] 11. Once Upon A Time
[2:27] 12. Because Of You

Monty Alexander has always been a fine jazz pianist, but in recent years he has received more popular acclaim for interpreting the reggae music of his native Jamaica. While his reggae efforts are well done, straight-ahead jazz and interpreting standards are really his forte. For The Good Life, Alexander has chosen to riff on tunes from the repertoire of Tony Bennett -- not the most popular or well-known, or even written by the singer -- but a good cross section of his set list over the decades. The Chicago-based rhythm team of veteran drummer George Fludas and up-and-coming bassist Lorin Cohen (cousin and bandmate of pianist Ryan Cohan) gives Alexander all the supple support and equal dynamism his playing demands. It's safe to say that listeners will enjoy the more refined, easy swinging numbers such as "Smile," the light bossa treatment of "Maybe September," and the tender ballad "Emily." This is what the elegant Alexander does best, playing 'round midnight affirmations, romantic advances, and subtle harmonies. But as the CD hums along, the pianist becomes more assertive -- the kind of animation Alexander is always capable of but rarely shows -- as on "Just in Time," where he trades phrases with Fludas, displays energy, and digs in. The trio does "Put on a Happy Face" in a loping, crafted manner, seasoned by the years, and presents a doleful blues on "I Wanna Be Around," which is the tune most identified with Bennett. A little Latin spice bumps up the traipsing "That Old Devil Moon," and a horse-trot rhythm courtesy of Fludas inspires "The Good Life." As in the tradition of Chesky Records, this session was recorded with a single 360-degree microphone, done at St. Peter's Episcopal Church in N.Y.C., and the sound is pristine. Turn up the volume a few notches to hear the precious, full, rich, bountiful sound Alexander and his group are putting down. ~Michael G. Nastos

The Good Life: The Music Of Tony Bennett

---

Phoebe Snow - It Looks Like Snow

Bitrate: MP3@320K/s
Time: 49:17
Size: 112.8 MB
Styles: Adult contemporary, Soft rock
Year: 1976/2011
Art: Front

[5:14] 1. Autobiography (Shine, Shine,, Shine)
[4:29] 2. Teach Me Tonight
[3:55] 3. Stand Up The Rock
[4:46] 4. In My Girlish Days
[6:04] 5. Mercy On Those
[5:49] 6. Don't Let Me Down
[5:50] 7. Drink Up The Melody (Bite The Dust, Blues)
[2:56] 8. Fat Change
[5:52] 9. My Faith Is Blind
[4:18] 10. Shakey Ground

David Rubinson's production of Phoebe Snow on the 1976 release It Looks Like Snow is an overpowering collection of pop-jazz-funk-folk that puts this amazing vocalist's talents in a beautiful light. Whether it's the Bowen/Bond/Hazel blues classic "Shakey Ground," which Elton John, Etta James, and so many others have explored, or her exquisite interpretation of the Beatles' "Don't Let Me Down," there is no doubt the material here should have ruled on the airwaves the year after her Top Five smash, "Poetry Man." How could Columbia Records not have this material saturating radio across America is the question. There are string arrangements by Sonny Burke and horn arrangements by Kurt McGettrick; the guests galore -- from David Bromberg and Ray Parker, Jr. on guitars (along with Snow, Greg Poree, and Steve Burgh) to David Pomeranz on keys -- make the Snow/Pomeranz co-write "Mercy on Those" into a majestic and extra-special showstopper. The singer's solo composition "Drink Up the Melody (Bite the Dust, Blues)" has her dipping into Maria Muldaur territory, and a duet between the two divas here would've been sensational. "My Faith Is Blind," soaked in gospel introspection, takes the album to another level with its soul searching and sense of spiritual discovery. It Looks Like Snow is a major work from a fabulous performer traversing styles and genres with ease and elegance. The loving mom appears with her daughter on the back cover in a photo by collaborator Phil Kearns. ~Joe Viglione

It Looks Like Snow

---

Cannonball Adderley - Money In The Pocket

Bitrate: MP3@320K/s
Time: 62:59
Size: 144.2 MB
Styles: Bop, Saxophone jazz
Year: 2005
Art: Front

[10:25] 1. Money In The Pocket
[ 9:09] 2. Stardust
[ 7:23] 3. Introduction To A Samba
[ 7:44] 4. Hear Me Talkin' To Ya
[10:32] 5. Requiem For A Jazz Musician
[ 3:07] 6. Cannon's Theme
[ 4:06] 7. The Sticks
[10:29] 8. Fiddler On The Roof

Cannonball Adderley's mega-successful album Mercy, Mercy, Mercy!, released in August of 1966, was supposedly recorded "live" at a venue in Chicago called The Club, but it was actually recorded in the studio of Capitol Records with a specially assembled audience. For those who wonder what they really sounded like at that venue, Money in the Pocket contains unreleased live recordings of the Cannonball Adderley Quintet at The Club in Chicago on March 19 and 20, 1966. The only pieces officially released were edited 45-rpm single versions of "The Sticks," "Money in the Pocket," "Hear Me Talkin' to Ya," and "Cannon's Theme." This 2005 reissue restores those tracks to their original full lengths while adding "Introduction to a Samba," "Requiem for a Jazz Musician," "Fiddler on the Roof," and a nice version of "Stardust." Cannonball employed the same excellent band as heard on the Mercy, Mercy, Mercy! album -- cornetist Nat Adderley, keyboardist Joe Zawinul, drummer Roy McCurdy -- with the exception of bassist Herbie Lewis, who replaced Victor Gaskin. Any Cannonball Adderley fan will want to own this. ~Al Campbell

Money In The Pocket

---

Jake Shimabukuro - Dragon

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 45:15
Size: 104,2 MB
Art: Front

(2:59)  1. Shake It Up!
(4:06)  2. Dragon
(3:15)  3. Circle Of Friends
(3:39)  4. Me And Shirley T.
(2:21)  5. Floaters
(5:09)  6. 3rd Stream
(3:34)  7. Touch
(5:03)  8. En Aranjuez Con Tu Amor (feat. DJ QBert)
(3:35)  9. Toastmanland
(2:24) 10. Making A Perfect Yesterday
(5:19) 11. Looking Back
(3:45) 12. With U Always

The humble ukulele needed a man like Jake Shimabukuro, the 28-year-old string virtuoso determined to turn all your “Tiptoe Through the Tulips” preconceptions on their ear. Shimabukuro’s unconventional approach to the instrument produces a sound and a complexity more akin to a mandolin or a lead guitar than what you might recognize as a uke. Revered in Japan and in his native home of Hawaii, Shimabukuro has enjoyed little fame elsewhere, but with Dragon, his fourth LP (and the first to be aggressively marketed in the continental U.S.), that seems likely to change. Dragon finds Shimabukuro in an adventurous, expansive state; there’s considerably less novelty and bravado than in his previous, folksier releases. Instead, the focus of the album rests on Shimabukuro’s songwriting, and the results are generally positive: “Toastmanland” and “Me & Shirley T” are light and sweet, “Shake It Up” and “Circle of Friends” are rousing anthemic power ballads, and “El Aranjuez Con Tu Amor” (an unconventional take on Joaquin Rodrigo’s “Concierto de Aranjuez,” featuring a drum loop from superstar turntablist DJ Q-Bert) is, if not triumphant, at least always interesting. The album’s greatest fault is its sentimentality; much of the CD is drenched with treacly orchestration that threatens to obscure Shimabukuro. While I would have preferred a more stripped-down set, Dragon is an impressive effort and a thoroughly enjoyable listen. ~ John Seroff https://jazztimes.com/reviews/albums/jake-shimabukuro-dragon/ 
 

Personnel: Jake Shimabukuro (acoustic guitar, electric guitar, ukulele, piano, keyboards, programming); Jake Shimabukuro (guitar); Ignace Jang, Claire Hazzard, Hung Wu, Judy Barrett (violin); Sandra Wong, Anna Womack (viola); Karen Fujimoto, Karen Bechtel (cello); Daniel Pardo, Dean Taba (bass instrument); Noel Okimoto (drums).

Dragon

---

Stanton Moore - All Kooked Out!

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 62:54
Size: 145,0 MB
Art: Front

(4:16)  1. Tchfunkta
(6:01)  2. Common Ground
(6:15)  3. Green Chimneys
(4:59)  4. Blues For Ben
(3:11)  5. Kooks On Parade
(5:23)  6. Nalgas
(5:03)  7. Witch Doctor
(4:58)  8. Boogaloo Boogie
(4:24)  9. Nobody's Blues
(3:21) 10. Stanton Hits The Bottle
(2:33) 11. Farmstead Antiques
(7:29) 12. Angel Nemali
(4:56) 13. Honey Island

It takes a special kind of drummer to be a leader. Maybe a nervy one. There's the temptation to grandstand with showy over-domination or remain buried in a rhythm section and let someone else take the honors. The most successful drummer-leaders are either innovative melodists like Art Blakey, Shelly Manne and Tony Williams. Or they're artful percussionists like Louis Bellson, Chico Hamilton or Leon Parker. Then there's Stanton Moore. As a New Orleans native, he's grown up on the Mardi Gras gumbo of the Meters and Professor Longhair. But as a drummer, he digs deep into the boogaloo bayou of James Brown and Lou Donaldson. He clearly does not believe drumming merely keeps time. When Moore motivates, you'll start moving. Actually, he makes it seem inhuman to sit still. In other interesting spheres, Moore ignites the New Orleans Klezmer All Stars and scales the charts as a founding member of the popular funk band, Galactic. With All Kooked Out, the young drummer steps out on his own. This excellent debut offers Moore entrance to the funk pantheon (your hosts, Melvin Parker, Bernard Purdie, Idris Muhammad and Harvey Mason) and places him firmly in the same contemporary league of royalty heretofore occupied only by MMW's highly esteemed Billy Martin.

Unlike Galactic's keyboard-driven groove and occasional vocals, Moore opts for an all-instrumental guitar-sax groove on All Kooked Out. As he does elsewhere, he keeps it pretty simple- riding the snare, bass and occasional cymbal - but always with engaging funk at the source. Drum solos are kept to a minimum. But, thankfully, they're always in the context rather at the expense of the music. Moore's real coup is recruiting guitarist Charlie Hunter for this party. Hunter adds the rhythmic kick and the melodic groove that gives Moore's beat real substance. Somehow, Hunter manages an eight-string guitar, giving him the ability to play bass and guitar parts at the same time. With a special attachment, he can even make his guitar sound like a Hammond B-3 organ. Hunter, who's paired less interestingly with Leon Parker on his latest Blue Note release, Duo, proffers a formidable partnership with Moore. The two like-minded hipsters display much interchange, well worth hearing: at least for those who think funk offers something of value. A basic trio (supplemented at times by a small cast of New Orleans all stars including Galactic Matt Pierce on tuba and former Sun Ra trumpeter Michael Ray) is rounded out by the wacky, yet appealing John Zorn saxophonics of Skerik (doin' the Harold Alexander thing).

It's an exceedingly winning combination too. Plenty of shining is heard throughout, notably on the brass band boogie of "Blues for Ben" (a great millennial party tune and a choice slice of Hunter in Wes-meets-Grant mode), John Patton's "Boogaloo Boogie" (an ideal showcase for Hunter's amazing, tuneful facility), the date's lone ballad , the beautiful "Honey Island," and the nice surprise of Dudu Pakwana's "Angel Nemali" (Skerik's best moment). All the while, the drummer puts out, completely in charge. No need to worry about giving this drummer some, he's earning every bit. Name check his influences as you grind through the Lou Donaldson rock of "Common Ground," Monk's clunky and chunky "Green Chimneys," and the James Brown jambalaya of "Nalgas," one of several memorable group originals/jams. Throughout, Moore keeps it funky. And since he keeps the environment limited to mostly just guitar-sax-drums - allowing truly excellent musicanship throughout - he winds up with something that ranks among the year's finer jazz releases. So does funk make for good jazz? Hard to say. Some people just don't want to have fun. They're the ones who think something catchy has nothing to say. Stanton Moore knows better. Those who hear him will surely agree. And those who groove to All Kooked Out will be all the richer for it. ~ Douglas Payne https://www.allaboutjazz.com/all-kooked-out-stanton-moore-fog-city-records-review-by-douglas-payne.php

Personnel:  Stanton Moore: drums & percussion; Charlie Hunter: eight-string guitar; Skerik: tenor and baritone saxophones: Matt Perrine: tuba: Brent Rose: tenor sax, soprano sax; Brian Seeger: guitar; Ben Ellman: tenor sax; Michael Ray: trumpet; Craig Klein: trombone.

All Kooked Out!

---

Jimmy McGriff & Groove Holmes - Giants of the Organ Come Together

Styles: Jazz, Post Bop
Year: 1973
File: MP3@320K/s
Time: 41:08
Size: 95,0 MB
Art: Front

(6:59)  1. Licks A' Plenty
(8:33)  2. Out of Nowhere
(5:24)  3. The Squirrel
(6:18)  4. Finger Lickin' Good
(7:03)  5. How High the Moon
(6:48)  6. Things Ain't What They Used to Be

Twin organs back to back and a heck of a hard-wailing set from Groove Holmes and Jimmy McGriff! The album cooks from the very first note and features long tunes that open up with the same sort of solo-heavy approach that you'd get on Holmes' Prestige albums of the 60s very stretched out, in a way that offers the keyboardists no cover at all, and forces them to keep thinking on their feet to come up with great notes! 

Bernard Purdie plays some nicely tight drums on the set, and guitar is by George Freeman and O'Donel Levy both of whom add some nice superdope touches to the set! A winner all the way through, with great solos and titles that include "Licks A Plenty", "The Squirrel", and "Finger Lickin' Good". © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/6135/Jimmy-McGriff-Richard-Groove-Holmes:Giants-Of-The-Organ-Come-Together

Personnel:  Organ – Jimmy McGriff,  Richard 'Groove' Holmes;  Congas – Kwasi Jayourba;  Drums – Bernard Purdie;  Guitar – George Freeman, O'Donel Levy

Giants of the Organ Come Together

---

Magnus Lindgren - Souls

Styles: Flute Jazz

Year: 2013

File: MP3@320K/s

Time: 44:51

Size: 103,6 MB

Art: Front

(3:06)  1. Souls

(3:42)  2. Change All The Time

(4:29)  3. Creepin'

(3:42)  4. Rainy Day

(4:26)  5. Dreaming In New York

(4:00)  6. Barcelona

(4:15)  7. Small Stuff

(3:07)  8. Broken Heart

(4:17)  9. On A Sunday

(4:45) 10. Walk This Earth

(4:56) 11. Wrapped Around Your Finger

The Sweden Magnus Lindgren, saxophonist, flutist, clarinetist, composer and musical traveler will have his new album "Souls" out Nave: The recording took place in New York in collaboration with the voices of Gregory Porter, Ivan Lins and beautiful young Swedish jazz star Anna Christoffersson, among others. It highlights the talent of this artist / composer admired, among others, by Quincy Jones.

Personnel:  Magnus Lindgren - tenor sax, flute, alto flute, clarinet, bass clarinet, Rhodes, Wulitzer, vocals;  Leonardo Amuedo – guitars;  Ira Coleman – bass;  Rhani Krija – percussion;  Gregory Porter - vocals on track 1, 7, 8;  Rigmor Gustafsson - vocals on track 5;  Anna Christoffersson - vocals on tracks 1, 2, 4, 7, 8;  Marie Fredriksson - vocals on track 9;  Mark Reilly - vocals on track 4;  Ivan Lins - vocals on track 10

Souls

---

Alma Micic - That Old Feeling

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 35:29
Size: 82,6 MB
Art: Front

(3:47)  1. That Old Feeling
(4:09)  2. Harvest Moon
(3:13)  3. Moonglow
(4:32)  4. Cry Me A River
(4:24)  5. Honeysuckle Rose
(2:35)  6. Ne zaboravi me
(4:04)  7. Estate
(3:55)  8. Blue Moon
(4:45)  9. Solnishko

Alma was born and raised in Belgrade, Serbia. She started performing with a local quartet at a time in which jazz was making a big comeback in Belgrade: it was 1992, and somehow, jazz clubs bloomed all across town like mushrooms. Alma was singing three nights a week then, while attending high school in the morning. At 17, she started performing and touring regularly with the Radio Big Band, then entered Law School a year later. However, in 1995, with great help and support from her parents and family, she applied and was awarded a generous scholarship to attend the prestigious Berklee College of Music in Boston, MA. Alma began her studies as a voice major in 1996, and graduated in 1999 with a BM in Jazz Performance. It was at Berklee that she started leading her own quartet and performing at various clubs such as Scullers, Jazz Standard as well as appearing at various festivals throughout East Coast and Europe. In 2000, Alma Micic relocated to New York City. While making her mark on the jazz scene, she met current members of her quartet.  She leads a cohesive, intuitive group that includes bassist Sean Conly, drummer Gregory Hutchinson, and pianist Brandon McCune. “Introducing Alma”, the first solo effort of this extraordinary new jazz vocalist received great critical acclaim. Featured articles included publications such as Jazzman (France), Swing Journal (Japan), All About Jazz (US), Il manifesto (Italy). Alma’s singing is steeped in tradition, her writing and lyrics completely fresh and original. It is described by Bob Young of the Boston Herald as “music that nods to the past and looks to the future.” Alma’s upcoming release “The Hours” features her originals, new takes on spirituals and a loving dedication to her ethnic heritage. https://www.last.fm/music/Alma+Micic/+wiki

That Old Feeling

---

Billy Vera - Big Band Jazz

Bitrate: MP3@320K/s
Time: 36:21
Size: 83.2 MB
Styles: Big band
Year: 2015
Art: Front

[2:23] 1. If I Could Be With You (One Hour Tonight)
[3:51] 2. Since I Fell For You
[2:52] 3. Cherry
[3:50] 4. When It's Sleepytime Down South
[2:37] 5. I Want To Be Loved (But Only By You)
[3:15] 6. My Little Brown Book
[3:11] 7. Just A-Sittin' And A-Rockin'
[3:00] 8. Blue And Sentimental
[3:27] 9. I'll Never Be Free
[4:08] 10. Room With A View
[3:42] 11. At This Moment

Veteran blue-eyed soul singer Billy Vera has really found a style with Big Band Jazz! Instead of the typical overworked, clichéd standards on other artists’ albums, Billy digs deep in the well he knows better than anybody: The Great Black American Songbook. Every song here was written by one of the greats of black show business. Duke Ellington, Billy Straynorn, Count Basie, Buddy and James P. Johnson. No tired, corny tunes for Mr. Vera; the best-known item on this CD is “Since I Fell For You.” As usual, Billy Vera makes the hippest choices, and sweet surprises like Strayhorn’s “My Little Brown Book.”

Recorded at Hollywood’s historic Capitol Studio A, home of Sinatra, Dino and Nat Cole, the sound is perfection. The band, arranged by Chris Walden, swings like Basie. On “Blue And Sentimental,” you’d swear the Count was leading the band! Satchmo’s “When It’s Sleepytime Down South” will break your heart from its sheer beauty. You can tell these guys love and respect Billy; the solos they play for him are spectacular. Replacing Vera’s old partner, the late Judy Clay, is young Tamela D’Amico, who duets on “I’ll Never Be Free.” This girl has a future.

The album closes with two Vera-penned classics: a reinvented “Room With A View,” written with blues legend Lowell Fulson, and a big band version of his signature song, “At This Moment,” with a solo by the soulful Jerry Peterson, who played on the original hit. Enjoy!

Big Band Jazz

---

Anita O'Day - Incomparable!

Bitrate: MP3@320K/s
Time: 37:06
Size: 84.9 MB
Styles: Jazz vocals
Year: 1960/2002
Art: Front

[2:37] 1. It Could Happen To You
[2:35] 2. Blue Champagne
[2:10] 3. Avalon
[3:00] 4. Old Devil Moon
[3:09] 5. The Party's Over
[3:06] 6. Why Shouldn't I
[3:17] 7. Easy Living
[2:14] 8. Can't We Be Friends
[5:49] 9. Slaughter on Tenth Avenue
[2:48] 10. If I Love Again
[3:01] 11. Speak Low
[3:14] 12. Indian Summer

Alto Saxophone – Charlie Kennedy, Joe Maini; Baritone Saxophone – Jack Nimitz; Bass – Joe Mondragon; Bass Trombone – Kenny Shroyer; Drums – Mel Lewis; Guitar – Al Hendrickson; Piano – Lou Levy; Tenor Saxophone – Bill Perkins, Richie Kamuca; Trombone – Bob Edmonson, Frank Rosolino, Lew McCreary; Trumpet – Al Porcino, Conte Candoli, Ray Triscari, Stu Williamson; Vocals – Anita O'Day. Recorded 1960 at Radio Recorders, Hollywood: tracks 1-3 on August 16; tracks 4-6 on August 18; tracks 7-12 on August 23.

Anita started the "cool" school of jazz singing - her vocalese & scatting is always musically right, and not just showing off. This album had a strange sound to it when first pressed on LP, but this CD transfer has corrected the flat sound that was inherent. Bill Holman's inventive arrangements propel Anita in one of the most creative sessions that she had for Verve. Anita was always miles ahead of her imitators, and always, the hippest chick in Jazz. And dig that groovy ice-blue eyeliner! ~Allen Bardin

Incomparable!

---

Greg Skaff - Soulmation

Bitrate: MP3@320K/s
Time: 55:17
Size: 126.6 MB
Styles: Guitar jazz
Year: 2017
Art: Front

[5:33] 1. Conjure
[6:48] 2. Genmaicha
[4:19] 3. Soulmation
[3:49] 4. Mother Root
[3:39] 5. Smoke In The Sun
[3:49] 6. Bottom Feeder
[3:59] 7. Fleurette Africaine
[4:41] 8. Porcupine Hat
[4:44] 9. Talisman
[4:22] 10. Juke
[4:36] 11. Snake Oil
[4:54] 12. Somewhere In The Middle East

Greg Skaff: guitar; Fima Ephron: electric bass; Pat Bianchi: organ; Jonathan Barber: drums; Charley Drayton: drums (1, 2, 9, 10).

Guitarist Greg Skaff is all about the grease, grit, and grooves on Soulmation. It's a logical extension of his previous work—guitar-fronted organ group dates like East Harlem Skyline (Zoho Music, 2009) and 116th & Park (Zoho Music, 2012)—but it's a tad heavier, raunchier, and funkier than anything Skaff threw us on those records. His approach here is equal parts soul jazz, jam band, and unadulterated rock, nodding toward everybody from Grant Green to Lenny Kravitz to Jimi Hendrix.

Skaff wastes no time getting down to business on this one. He kicks things off with a funky gem ("Conjure") that calls to mind the music that Medeski, Martin & Wood produced with John Scofield. It's a performance that's indicative of the attitude surrounding the album, yet the sound of that song doesn't define the record. No single track could. Skaff is far too cagey to be pigeonholed, altering his direction in slight and not-so-subtle ways from song to song. One number might present like a meeting of Stevie Wonder, Grand Funk Railroad, and Delbert McClinton ("Soulmation"), the next may slam and shred with controlled abandon ("Mother Root"), and the one after that may appear as waltzing jazz poetry riding on a psychedelic fusion flow (Jan Hammer's "Smoke In The Sun").

Everything is on the table here, and it's quite a spread to take in. Skaff and company ably construct Jeff Beck-meets-Living Colour hybrids ("Bottom Feeder"), manufacture slinky-and-dreamy tastes of Ellingtonia ("Fleurette Africaine"), shoot out sizzling swingers ("Porcupine Hat"), and engage in jams that marry roadhouse aesthetics to more advanced harmonic language ("Talisman"). Virtually nothing is left unexplored across these tracks.

If there's a single idea at the heart of this album, it's that a musician unbound is like a musician heretofore unheard. Whether discussing the leader, his regular on-record collaborators like organist Pat Bianchi and drummer Charley Drayton, or Skaff album newbies like bassist Fima Ephron and drummer Jonathan Barber, that thought rings true. One can never really know the full weight of an artist's thoughts and skills until they're unleashed, so no truer picture of this guitarist (and his friends) may exist. Soulmation is truly a summation of what Greg Skaff is all about. ~Dan Bilawsky

Soulmation

---

Mose Allison - V-8 Ford Blues

Bitrate: MP3@320K/s
Time: 37:27
Size: 85.8 MB
Styles: Vocal & Piano jazz
Year: 1961/1994
Art: Front

[2:10] 1. V-8 Ford Blues
[1:26] 2. Please Don't Talk About Me When I'm Gone
[2:32] 3. Baby, Please Don't Go
[1:40] 4. Hey, Good Lookin'
[2:23] 5. I Love The Life I Live
[1:49] 6. I Ain't Got Nobody (And Nobody Cares For Me)
[1:53] 7. Back On The Corner
[2:43] 8. Life Is Suicide
[1:54] 9. 'deed I Do
[2:31] 10. Ask Me Nice
[2:10] 11. You're A Sweatheart
[2:11] 12. Mad With You
[4:47] 13. High Jinks
[3:52] 14. So Rare
[3:21] 15. The Hills

Besides cool playing and his uniquely smoky singing, Mose has great taste in material. "Hey Good Lookin'" fits right in with revisited versions of "I Love the Life I Live," "I Ain't Got Nobody" and "Baby Please Don't Go," complete with what the singer himself calls his distinctive "involuntary groan" during the piano solo. Teo Macero's intimate production makes it feel like you're right there in the studio. This album was released with two others in a delightful 1994 collection called High Jinks. ~Mark Allen

V-8 Ford Blues

---

Dexter Gordon - Gotham City

Bitrate: MP3@320K/s
Time: 57:05
Size: 130.7 MB
Styles: Bop, Saxophone jazz
Year: 1981/2012
Art: Front

[9:34] 1. Hi Fly
[7:13] 2. A Nightingale Sang In Berkeley Square
[8:19] 3. The Blues Walk (Loose Walk)
[9:19] 4. Gotham City
[5:54] 5. A Conversation With Dexter Gordon
[7:04] 6. Have Yourself A Merry Little Christmas
[9:40] 7. Have Yourself A Merry Little Christmas (Long Version)

Tenor saxophonist Dexter Gordon was still in pretty good form at the time of this later recording. The veteran great is joined by an all-star rhythm section (pianist Cedar Walton, bassist Percy Heath and drummer Art Blakey) along with guest appearances from trumpeter Woody Shaw and guitarist George Benson. Although this boppish set is rather brief, just four songs (3 additional tracks were added on the CD reissue), the quality of the solos is quite high. ~Scott Yanow

Gotham City

---

Joe Chambers & Yishiaki Masuo - New York Concerto

Styles: Guitar Jazz, Post Bop
Year: 1981
File: MP3@320K/s
Time: 52:04
Size: 119,5 MB
Art: Front

( 6:33)  1. Irina
( 3:34)  2. Two Hearts
( 6:10)  3. Like Sonny
( 5:54)  4. Visions
( 5:08)  5. A Night Has a Thousand Eyes
(15:15)  6. Concierto de Aranjuez
( 2:53)  7. Dhabihu
( 6:34)  8. Autumn in New York

Joe Chambers is an extremely versatile and tasteful master of all post-bop idioms. Chambers drives an ensemble with a light hand; his time is excellent and his grasp of dynamics superb. He's not a flashy drummer by any means, but he's a generous collaborator who makes any group of which he's a part as good as it can possibly be. Chambers worked around Washington, D.C., in his late teens. After moving to New York in 1963, he played with Eric Dolphy, Freddie Hubbard, Jimmy Giuffre, and Andrew Hill. In the mid-'60s, Chambers played with a number of the more progressively inclined musicians associated with the Blue Note label, such as vibist Bobby Hutcherson and saxophonists Joe Henderson, Wayne Shorter, and Sam Rivers. In 1970, Chambers joined Max Roach's percussion ensemble, M'Boom, as an original member. During the '70s, Chambers played with a great many of jazz's most prominent elder statesmen, including Sonny Rollins, Tommy Flanagan, Charles Mingus, and Art Farmer. With Flanagan and bassist Reggie Workman, Chambers formed the Super Jazz Trio. In the late '70s, he co-led a band with organist Larry Young. Chambers recorded with bands led by trumpeter Chet Baker and percussionist Ray Mantilla in the early '80s. He also maintained his association with Roach into the '90s. As a solo artist, Chambers has released a tidy number of albums including Almoravid (1973) with trumpeter Woody Shaw, New World (1976), New York Concerto (1981), Phantom of the City (1992), Mirrors (1998), and Urban Grooves (2002). Beginning with 2006's Outlaw, Chambers released a steady stream of albums for Savant Records with Horace to Max (2010), Joe Chambers Moving Pictures Orchestra (2012), and Landscapes (2016), featuring bassist Ira Coleman and pianist Rick Germanson. ~ Chris Kelsey http://www.allmusic.com/artist/joe-chambers-mn0000122897/biography

Born in Tokyo, Japan on October 12 1946 as a son of a jazz band leader and pianist, Yoshiaki Masuo grew up surrounded by jazz music, although he never had any formal musical training. At the age of 15, he started playing the guitar on his own. Prominent among his early influences were Wes Montgomery and Grant Green. While in Waseda University Jazz Club, Masuo was discovered by alto saxophonist Sadao Watanabe, and joined his group at the end of 1967. Masuo thus started his professional career on top as a regular of Japan's leading jazz group. He was in the group for three years, and experienced tours outside of Japan with Sadao, playing at Montreux and Newport jazz festivals. He was 1970's number one guitarist in the readers' poll of Swing Journal, Japan's most popular jazz magazine. He won the readers poll in the following years even after leaving Japan, five times in total. Masuo moved to New York City on June 13, 1971. There he played with Teruo Nakamura, Lenny White, Michael Brecker, Chick Corea, drummer Elvin Jones (Masuo took part in the recording of Merry Go Round) . He also played as a regular of Ashford and Simpson. In 1972, he was a member of Lee Konitz's group. In the spring of 1973, he joined the Sonny Rollins group. 

He was with Sonny three years the first time and three more years from 1982. He toured with the group all over the United States as well as Japan and Europe. He participated in recordings of four Rollins' albums including The Cutting Edge (of the five, one is released in Japan). One of the albums "Reel Life" contains a composition by Masuo "Sonny side up" being played by Rollins' band.  Between the two periods of his playing with Sonny Rollins, Masuo toured with drummer Elvin Jones in Europe, played with organist Larry Young, and formed his own electric fusion group. He recorded his fourth leader album in 1977 for the newly-established Electric Bird label (King Records of Tokyo). Released the next year as the label's first issue, this album turned out to be a remarkable success. He continued to make fine jazz fusion albums one after another over the following several years, winning new fans. He made tours with his own band in Japan and on the West Coast of the U.S., as well as appearing sometimes in NYC night clubs including Seventh Avenue South and Mikell's. On one tour in Japan, Jan Hammer played with him as a special guest. After the second period with Sonny Rollins group in the mid 80s, Masuo acquired his own studio in SoHo in NYC, and there he began experimenting with electronic instruments to create sound all by himself. This took shape as an album titled "Masuo," on which he not only played but also did the roles of composer, arranger, engineer and mixer. This was released in May, 1989. A couple of years before this release, his owning a studio happened to make him get involved as a producer of recordings for JazzCity (and later JazzCity Spirit) for a Japanese record company. He produced dozens of albums over the next ten years. As he got deeply into production, his career as a musician was virtually put on hold. He struggled to get back to playing, and released his album "Are You Happy Now" in Japan in December 1998 and then in the U. S. A. and Europe a year later. But still he was in record production until he closed The Studio in New York at the end of Jan, 2008. Determined to come back as a full-time guitar player, Masuo released his new album "Life is Good" in Aug, 2008 from his newly set-up Sunshine Ave. Label. The following year, 2009, his subsequent album "I'm Glad There is You" has come out. https://www.last.fm/music/Yoshiaki+Masuo/+wiki

Personnel:  Joe Chambers – Drums; Yishiaki Masuo – Guitar.

New York Concerto

---

Richard 'Groove' Holmes - After Hours

Styles: Jazz, Post Bop
Year: 1962
File: MP3@320K/s
Time: 60:55
Size: 149,0 MB
Art: Front

(4:36)  1. Sweatin'
(2:56)  2. Jeannine
(4:13)  3. Minor Surgery
(4:08)  4. This Here
(5:16)  5. It Might as Well Be Spring
(5:21)  6. Moose the Mooche
(6:46)  7. Groove's Bag
(2:33)  8. Hallelujah, I Love her So
(5:25)  9. After Hours
(4:34) 10. Later
(5:01) 11. Do It My Way
(6:44) 12. Secret Love
(3:16) 13. Denise

Richard "Groove" Holmes was one of the first jazz organists to emerge after the rise of Jimmy Smith (who would remain a lifelong influence). Holmes had a lighter tone on the more up-tempo pieces, but on the ballads (such as "Denise" on this set) his organ could give the impression of weighing a ton. This CD reissue combines together most of the music from Holmes' two early albums: After Hours and Tell It like It 'Tis. 

These trio renditions (with either Joe Pass or Gene Edwards on guitar and Larance Marable or Leroy Henderson on drums) give one a strong sampling of the organist's talents on a variety of blues, bop standards, and obscure originals. ~ Scott Yanow http://www.allmusic.com/album/after-hours-mw0000184447

Personnel: Richard Groove Holmes (organ); Joe Pass, Gene Edwards (guitar); Larance Marable, Leroy Henderson (drums).

After Hours

---

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

---