Fiona Lawe Davies - Imaginary Grace

Size: 114,2 MB
Time: 49:02
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Straight To The Top (2:43)
02. A Bit Of A Departure (6:14)
03. Nature Boy (5:35)
04. Delicate (6:16)
05. Turn Me On (3:51)
06. In A Manner Of Speaking (4:38)
07. Come Back To Me (3:26)
08. I Melt With You (6:09)
09. You'd Be So Nice To Come Home To (3:30)
10. The Nearness Of You (6:37)

The songs Fiona sings are the stories she wants to tell. If honest, audacious reimaginings of indie and jazz classics are what you want to hear, then this is the album you want to buy.

For more than 15 years, Fiona has been honing her craft on Perth’s stages, including regular performances at Perth’s premier jazz venue, The Ellington Jazz Club. Fiona’s unique vocal ability is both pure and sultry, with a rhythmic lilt and intimate style. She draws inspiration from classic jazz artists such as Joe Williams and Julie London, modern jazz icons like Shirley Horn and Brad Mehldau and a slew of heart-rending indie artists including Rufus Wainwright, Damien Rice and Portishead.

The album, Imaginary Grace, was conceived and recorded with her long-time collaborators, Chris Foster (piano), Nick Abbey (double bass) and Daniel Susnjar (drums). These extraordinary musicians and composers are leading lights in the Australian music scene and their resumes are bursting with international performance credits, recordings and awards. In concert with Fiona, their energy, generosity and spontaneity will capture your heart and delight your senses.

“Fiona has such a great connection with the music that she chooses and composes. Her jazz and pop integrity run deep throughout the eclectic mix of material which showcases a beautiful and unique voice.” – Russell Holmes, jazz pianist and composer

“Performing with Fiona Lawe Davies is always a joyful experience, an emotional state which has been clearly captured on her album.” – Daniel Susnjar - drummer, percussionist, composer and educator

“Sassy, sophisticated, soulful and sexy... just a few words to describe the brilliance of Fiona Lawe Davies……Her singing voice is sultry and soulful, transporting you back to a time when the only music playing on the radio was cool Jazz.
I love her stripped down versions of modern music and I can't wait to hear the new album for a once in a lifetime, magical and unique voice that touches your soul." – Caroline Watson, Operations Manager, Robert Oatley Vineyard

Imaginary Grace

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Rahmlee Michael Davis - Vintage One Collection

Size: 179,0 MB
Time: 77:08
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. It's Alright Already (4:56)
02. Most High (9:59)
03. Thank You For Ya (4:26)
04. Heaven (4:55)
05. Mandela (5:19)
06. Poinciana (4:58)
07. Baby Boy (3:59)
08. Yeah (4:02)
09. Dolphin Dance (9:08)
10. Crescent (9:32)
11. Lembranca (4:59)
12. He Is Here (6:16)
13. Please Don't Make Me Weep (4:34)

Rahmlee Michael Davis, trumpeter, composer, arranger, producer, Chicago native, recorded early in his career as a studio musician with such labels as Brunswick, Chess, Dakar, Curtom, Columbia and Capitol Records just to name a few.

Rahmlee has recorded with such noble artists as: Earth, Wind & Fire, Phil Collins, The Jacksons, Tyrone Davis, Frida (of ABBA), Jackie Wilson, The Whispers, Michael Jackson, Stanley Turrentine, The Sylvers, Side Affect, Rodney Franklin, B.B. King, The Chi-Lites, Barbara Acklin, The Artistics, Gene Chandler, Tupac Shakur, Curtis Mayfield, Snoop Dogg, Donny Hathaway, Ramsey Lewis, Young-Holt Unlimited, Minnie Riperton, Philip Bailey, The Emotions, Klique, Charles Earland, Macy Gray, Bobby Womack, Al McKay & The L.A. All Stars/The Earth, Wind & Fire Experience and countless others. Rahmlee appears on most of these recordings in conjunction with the ORIGINAL Earth, Wind & Fire horn section; independently known as “The Phenix Horns Esquire.”

It was Rahmlee‘s versatile and unique musical style that made him so in demand and brought him to the attention of Earth, Wind & Fire. Along with the late Don Myrick, the late Lui Lui Satterfield and Michael Harris, he spent 8 years establishing The Phenix Horns section as an integral part of the musical act awarded Gold and Multi-Platinum albums, and numerous Grammys. Earth, Wind & Fire made musical history as the world’s greatest pop/rock band. Their worldwide tours are still talked about as some of the best and most successful ever staged.

After noting their explosive presence with Earth, Wind & Fire, Phil Collins initiated a musical coup, and The Phenix Horns became an important element of his decade long string of Gold and Platinum recordings, as well as very successful world tours.

Vintage One Collection

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Kelly Green - Life Rearranged

Size: 155,2 MB
Time: 67:03
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Life Rearranged ( 3:17)
02. Never Will I Marry (Feat. Josh Evans, Noam Israeli & Tamir Shmerling) ( 4:08)
03. I'll Know (Feat. Christian Mcbride) ( 3:25)
04. Little Daffodil (Feat. Steve Nelson, Josh Evans, Noam Israeli & Tamir Shmerling) ( 3:52)
05. If You Thought To Ask Me (Feat. Josh Evans, Kush Abadey, Jovan Alexandre, Mike Troy & Matt Dwonszyk) ( 5:38)
06. I Should Care (Feat. Christian Mcbride & Noam Israeli) ( 4:00)
07. Culture Shock (Feat. Josh Evans, Kush Abadey, Jovan Alexandre, Mike Troy & Matt Dwonszyk) (11:51)
08. Sunday In New York (Feat. Christian Mcbride, Josh Evans & Noam Israeli) ( 5:14)
09. Simple Feelings - The Truth (Feat. Josh Evans, Kush Abadey, Jovan Alexandre, Mike Troy & Matt Dwonszyk) ( 5:50)
10. If I'm Lucky (Feat. Steve Nelson) ( 5:01)
11. All Of You (Feat. Josh Evans, Jovan Alexandre, Mike Troy, Kush Abadey & Matt Dwonszyk) ( 5:15)
12. I Sing (Feat. Christian Mcbride, Josh Evans & Noam Israeli) ( 5:01)
13. Life Rearranged (Reprise) (Feat. Josh Evans, Kush Abadey, Jovan Alexandre, Mike Troy & Matt Dwonszyk) ( 4:26)

This album is a story of my life through original compositions and arrangements of standards that speak to my life on a personal level. I got together with some of my favorite musicians and friends in the world and we recorded this music "live" in the studio in December of 2016. "Kelly Green is one of the most talented and spirited people I know. Everything about her is joyous and swingin'!" - Christian McBride

Life Rearranged

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Tasha Taylor - Revival

Size: 183,1 MB
Time: 77:59
File: MP3 @ 320K/s
Released: 2003
Styles: R&B, Soul, Blues
Art: Front

01. Stay (3:58)
02. Like A Child (3:31)
03. Hairdown (3:26)
04. Honey (3:31)
05. If Tomorrow Never Comes (4:23)
06. Southern Girl (4:22)
07. There's A Way (5:05)
08. Wonder Woman (4:09)
09. Circles (3:38)
10. Working Day (3:46)
11. The Other Side (4:26)
12. Older (3:09)
13. Diamonds (3:29)
14. Slipping Away (4:11)
15. Little Miss Suzie (3:25)
16. I Begin (3:22)
17. Gypsy (3:43)
18. Only For You (4:19)
19. Love Letter (3:39)
20. Stand (4:16)

Tasha Taylor grew up in Dallas Texas and started writing songs at the age of 14. The daughter of "the wailer " himself, Johnnie Taylor,
Tasha grew up influenced by legendary artists such as the Jackson Five , Natalie Cole and Johnnie guitar Watson on the road with her dad. Growing up in the presence of music lead her to follow in her father's footsteps. She went o to record a duet with him on his hit cd "Good Love". The song they perfomed was " Aint that Loving You".
Now Tasha is continuing to branch out in soul music. Working on songs and production that create a hybrid of soul, funk ,rock and blues.
The live show is also a place were Tasha shines. Bringing together the storytelling of an old soul and a voice to back it up.

Revival

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Jan Garbarek - Works

Styles: Saxophone Jazz
Year: 1984
File: MP3@320K/s
Time: 51:10
Size: 117,3 MB
Art: Front

( 8:14)  1. Folk Song
( 1:33)  2. Skrik + Hyl
(11:21)  3. Passing
( 2:23)  4. Selje
( 5:40)  5. Viddene
( 4:31)  6. Snipp, Snapp, Snute
(12:26)  7. Beast of Komodo
( 4:59)  8. Svevende

Norwegian saxophonist Jan Garbarek's icy tone and liberal use of space and long tones has long been perfect for the ECM sound and, as a result, he is on many recordings for that label, both as a leader and as a sideman. He had won a competition for amateur jazz players back in 1962, leading to his first gigs. Garbarek worked steadily in Norway throughout the remainder of the '60s, usually as a leader but also for four years with George Russell (who was in Scandinavia for a long stretch). Garbarek began recording for ECM in the early '70s and, although he had opportunities to play with Chick Corea and Don Cherry, his association with Keith Jarrett's European quartet in the mid-'70s made him famous, resulting in the classic recordings My Song and Belonging. In the '80s, Garbarek's groups included bassist Eberhard Weber and at various times, guitarists Bill Frisell and David Torn. Garbarek, whose sound has remained virtually unchanged since the '70s, collaborated with the Hilliard Ensemble in 1993 (a vocal quartet singing Renaissance music) and the result was a surprisingly popular recording. Visible World followed in 1995, and four years later he resurfaced with Rites. In April of 1999, Garbarek and the Hilliard Ensemble returned with Mnemosyne. He issued In Praise of Dreams in 2004, and finally released his first live album as a leader, Dresden, in 2009. In 2012, ECM released the live archival recording Magico: Carta de Amor, by the Magico trio that also included guitarist Egberto Gismonti and bassist Charlie Haden. ~ Scott Yanow https://itunes.apple.com/us/album/jan-garbarek-works/id272061988

Personnel:  Saxophone [Soprano], Flute – Jan Garbarek;  Bass – Charlie Haden;  Guitar – Egberto Gismonti;  Drums – Jack DeJohnette;  Guitar – Bill Connors;  Organ – John Taylor;  Bass – Arild Andersen.

Works

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Tia Brazda - Cabin Fever

Styles: Vocal

Year: 2012

File: MP3@320K/s

Time: 14:00

Size: 32,8 MB

Art: Front

(2:44)  1. Cabin Fever

(2:05)  2. Man Up!

(2:46)  3. Too Crazy

(3:01)  4. Wild Jack

(3:22)  5. Thief in the Night

Tia Brazda has established herself as a sparkling presence on the jazz scene in Canada and beyond, performing from Montreal to Paris to Amsterdam, and at such notable festivals as the Vancouver International Jazz, Toronto International Jazz and Bestival (UK). Her debut EP, Cabin Fever burst onto the scene in February 2012, hitting #1 on the iTunes Canada Jazz chart as well as receiving play on CBC Radio 1, Jazz FM 91.1 and college radio stations across Canada. Originally from Vancouver, but having honed her cutting-edge sound in the clubs of Toronto, Tia’s sassy songs and pin-up girl style have made a startling impression, paying homage to the golden era while still remaining daringly modern. Now with her debut full-length album Bandshell, Tia comes out swinging with a more polished flair, updating her vintage vibe from flats to heels. The 10 tracks examine affairs of the heart from a rollercoaster's front car view, neatly packaged and bowed with Brazda's superb Billie Holiday-meets-Amy Winehouse-like vocals. The album also debuted at #1 on the iTunes Jazz Chart in Canada and was ranked #5 by Jazz FM 91 in Toronto on their list of Top 10 Canadian jazz albums of 2015. It also hit #24 on the CMJ national jazz radio chart in the U.S. after being added to over 30 stations nationwide. http://tiabrazda.com/

Cabin Fever

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Maynard Ferguson - High Voltage

Styles: Trumpet Jazz 
Year: 1987
File: MP3@320K/s
Time: 42:57
Size: 99,4 MB
Art: Front

(5:53)  1. Jack Usage
(5:29)  2. Sunday Morning
(5:49)  3. High Voltage
(3:43)  4. Stardust
(6:05)  5. Marketplace
(4:30)  6. Walkin' On The Pier
(4:49)  7. Snap
(6:35)  8. Shufflemonk

When he debuted with Stan Kenton's Orchestra in 1950, Maynard Ferguson could play higher than any other trumpeter up to that point in jazz history, and he was accurate. Somehow he kept most of that range through his career and since the 1970s has been one of the most famous musicians in jazz. Never known for his exquisite taste (some of his more commercial efforts are unlistenable), Ferguson nevertheless led some important bands and definitely made an impact with his trumpet playing.  After heading his own big band in Montreal, Ferguson came to the United States in 1949 with hopes of joining Kenton's orchestra, but that ensemble had just recently broke up. So instead, Ferguson gained experience playing with the big bands of Boyd Raeburn, Jimmy Dorsey, and Charlie Barnet. In 1950, with the formation of Kenton's Innovations Orchestra, Ferguson became a star, playing ridiculous high notes with ease. In 1953, he left Kenton to work in the studios of Los Angeles and three years later led the all-star "Birdland Dreamband." In 1957, he put together a regular big band that lasted until 1965, recorded regularly for Roulette (all of the band's recordings with that label are on a massive Mosaic box set) and performed some of the finest music of Ferguson's career. Such players as Slide Hampton, Don Ellis, Don Sebesky, Willie Maiden, John Bunch, Joe Zawinul, Joe Farrell, Jaki Byard, Lanny Morgan, Rufus Jones, Bill Berry, and Don Menza were among the more notable sidemen. After economics forced him to give up the impressive band, Ferguson had a few years in which he was only semi-active in music, spending time in India and eventually forming a new band in England. After moving back to the U.S., Ferguson in 1974 drifted quickly into commercialism. Young trumpeters in high school and colleges were amazed by his high notes, but jazz fans were dismayed by the tasteless recordings that resulted in hit versions of such songs as the themes from Star Wars and Rocky and much worse. After cutting back on his huge orchestra in the early '80s, Ferguson recorded some bop in a 1983 session, led a funk band called High Voltage during 1987-1988, and then returned to jazz with his "Big Bop Nouveau Band," a medium-sized outfit with which he toured the world up until his death from kidney and liver failure on August 23, 2006. ~ Scott Yanow http://www.allmusic.com/artist/maynard-ferguson-mn0000397042/biography

Personel:  Trumpet [Holton M.f. Horn Trumpet], Trombone [Superbone], Flugelhorn – Maynard Ferguson;  Baritone Saxophone, Tenor Saxophone, Soprano Saxophone, Flute, Scat – Denis DiBlasio;  Bass – Rick Shaw;  Drum Programming [Additional] – Bernie Dressel;  Drums – Ray Brinker;  Guitar – Michael Higgins;  Keyboards – Todd Carlon;  Percussion – Steve Fisher

High Voltage

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Narada Michael Walden - Evolution

Styles: Vocal, Soul 
Year: 2015
File: MP3@320K/s
Time: 56:38
Size: 130,2 MB
Art: Front

(5:00)  1. Evolution
(3:45)  2. Billionaire On Soul Street
(4:26)  3. Babys Got In Going On
(5:12)  4. Freedom
(3:47)  5. Song For You
(4:41)  6. It's The Sixties
(3:18)  7. Tear The House Down
(4:28)  8. Me And My Girl
(6:12)  9. Heavens In My Heart
(4:28) 10. Standing Tall
(4:16) 11. Long And Winding Road
(3:15) 12. Show Me How To Love Again (Booda Remix)
(3:44) 13. Billionaire On Soul Street (Booda Remix)

2015 release from the veteran producer, drummer, singer and songwriter. Evolution is a strong statement from Narada, inspired by the "retro" sound that is so prevalent on the radio and in clubs today. The album features mostly original material and two covers Freedom by Richie Havens and The Long and Winding Road by John Lennon and Paul McCartney. 

Narada explains about the album's first single: "This album Evolution means the world to me because it reflects my personal feeling of spirituality and that feeling renewed for life by having my children Kelly and Kaylah in my life and my wife Katie. Having children now at this time in my life really has touched my heart to feel like WOW! Look how lucky and how blessed I am by God." ~ Editorial Reviews https://www.amazon.com/Evolution-Narada-Michael-Walden/dp/B015RD3L4Q

Evolution

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JC Stylles - Blakey Grease

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 46:18
Size: 106,9 MB
Art: Front

(6:41)  1. Hammerhead
(6:12)  2. Ping Pong
(6:51)  3. Yama
(5:04)  4. United
(6:11)  5. Hipsippy Blues
(4:16)  6. Stretching
(5:10)  7. Pensativa
(5:50)  8. One by One

The photos that adorn the cover and back panel of guitarist JC Stylles Exhilaration And Other States make Stylles look like a cross between a '50s rockabilly musician and a Brian Setzer wannabe, but his music has nothing to do with either one. The Australian-born and New York-based guitarist deals in burning organ trio swing, with a few ballads and some other seasonings thrown in for good measure, as he tackles standards and a few surprises from outside the jazz canon. Both Stylles' biography and his music betray a fondness for George Benson's playing, but not the Benson that sets off fusion fireworks or deals in smooth grooves. Stylles' style usually veers closer to the Benson that took the baton from Wes Montgomery and ran with it. While Stylles is clearly the star of this show, his trio mates are superb supporting players that help to drive this music along. Organist Pat Bianchi brings his bright and cutting sound to bear on a large number of these pieces, but he also proves to be a sensitive accompanist, capable of dialing things down when the music calls for it ("Don't Explain"). His solos on the livelier material can be exciting and unpredictable, as demonstrated with some sprays of notes on "Tune For Roger," or straightforward in a pleasing manner. As per most organ group recordings, the drummer Lawrence Leathers gets little space to solo, but Leathers' swinging drumming is the heartbeat of this music. Stylles' choice of repertoire is as eclectic as can be, covering everybody from Cole Porter and Billie Holiday to Stevie Wonder and R. Kelly, but he manages to find a common thread in most of the material. He lights up the faster numbers with his articulate single note lines and his solo trading with Bianchi, and he takes complete control on the ballads, which can be haunting ("Don't Explain") or heavenly ("I Want To Talk About You"). Stylles isn't afraid to detour into slick, R&B territory (R. Kelly's "It Seems Like You're Ready"), but the guitarist sounds best on material that moves at a sprinter's pace, as demonstrated by his searing solo work on Wayne Shorter's "Pinnochio." While the music on Exhilaration And Other States may cover a wide range of emotions, it seems like everything that Stylles' delivers is capable of evoking a state of euphoria. ~ Dan Bilawsky https://www.allaboutjazz.com/exhilaration-and-other-states-jc-stylles-motema-music-review-by-dan-bilawsky.php

Personnel: JC Stylles: guitar; Pat Bianchi: organ; Lawrence Leathers: drums.

Blakey Grease

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Ralph Alessi - Quiver

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 56:27
Size: 129,5 MB
Art: Front

(2:57)  1. Here Tomorrow
(5:18)  2. Window Goodbyes
(6:56)  3. Smooth Descent
(6:46)  4. Heist
(9:49)  5. Gone Today, Here Tomorrow
(6:14)  6. I to I
(5:17)  7. Scratch
(7:05)  8. Shush
(4:14)  9. Quiver
(1:47) 10. Do Over

Quiver finds trumpeter Ralph Alessi and his quartet in a lyrical, reflective mood. Alessi describes the atmosphere in the recording studio as "pensive," a quality that imbues this music. The group includes most of the players from Alessi's acclaimed ECM leader debut Baida (2013). Drew Gress (double-bass) and Nasheet Waits (drums) return, with Gary Versace taking the piano chair in place of Jason Moran. Tempting to ascribe the differences between the two sessions to the pianists, but I think it has more to do with the material and the interaction of the whole band. "Here Tomorrow" opens the set with a brief legato meditation, and the mood for much of the album is established from the start. Versace often begins the pieces with an unadorned statement of the harmony, and doesn't even take a solo until the third track, "Smooth Descent" (which is also a bit more up-tempo). "Heist" breaks the mold by opening with solo trumpet, but it makes room for another piano solo and a bass solo from team player Gress. At almost ten minutes "Gone Today, Here Tomorrow" is the longest selection, and it too contains more moderate up-tempo music, finally giving Waits an opportunity to cut loose a bit. While there's no burning here, it certainly is not all taken at rubato or ballad tempo. "Scratch" is built upon an ostinato, following some lovely piano playing on "I to I." "Shush" combines all of the previous musical elements by beginning rubato. building to an energetic middle section, then closing with a repeating pattern. Only the closer "Do Over" provides a large contrast, as the band plays the only really up-tempo tune in the program while Waits solos all the way through. It's far too short, and it's a shame the record doesn't contain a bit more of this kind of playing. The variety would have been welcome. But while it's a generally low-key session, it's full of beautiful playing and empathetic group interaction. ~ Mark Sullivan https://www.allaboutjazz.com/quiver-ralph-alessi-ecm-records-review-by-mark-sullivan.php

Personnel: Ralph Alessi: trumpet; Gary Versace: piano; Drew Gress: double-bass; Nasheet Waits: drums.

Quiver

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Lils Mackintosh - Black Girl

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 49:53
Size: 115,2 MB
Art: Front

(0:22)  1. Intro
(4:03)  2. Black girl
(3:09)  3. Shorty George
(3:13)  4. Bottle up and go
(3:22)  5. Ledbetter
(3:07)  6. Relax your mind
(3:42)  7. Slavery is still around
(2:50)  8. Goodnight my teen
(4:34)  9. Backwater blues
(4:41) 10. Take this hammer
(1:32) 11. Bring a little water
(3:12) 12. Silver city bound
(3:08) 13. Hurt me
(3:35) 14. Good morning blues
(5:16) 15. Take this hammer (instrumental)

Lils Mackintosh (Amsterdam, June 11, 1955) is a Dutch singer, composer, actress and writer. At seventeen she was talent-scouted by the Dutch actor Jack Monkau and traded a formal education for a career in music. Being the daughter of two parents in the music industry, a career along that road seemed a natural step to take. Lils became a professional singer with the acceptance of a role in the musical 'Hair'. Next she played key roles in the Dutch rock opera 'Ik, Jan Cremer' and the high profile musical 'Barnum'. Lils then decided to become more experienced as a lead singer and played in different rock and hardrock bands. She also toured on a regular basis. One of the highlights was an extended tour in Sudan, Kuwait and Egypt. This was also the period in her career where she had the honor to perform with jazz legends like Oscar Peterson and B.B. King. In 1977, Lils released her first jazz single, a cover version of the Rogers & Hart classic 'My Funny Valentine'. Winning the 1990 'Vocalistenprijs' at the Dutch Jazzconcours in Breda lead to a significant career change. Lils then decided to specialize in jazz music. She started to perform extensively in Europe and the United States and was a regular performer at the legendary North Sea Jazz Festival. In 1993 she released her debut album, ‘It’s not perfect to be easy’. She received recognition for this album with the nomination for an Edison Jazz Award. Two more albums were released in this period: 'This is the strangest life I've ever known' is released in 1994, followed by 'Seasons', in 1997.

Being an artist with the desire to develop and transform, Lils took a different take on her career when she formed the 'Lils Mackintosh & The Swing Cats' band in 1998. This period also marked the return to the theatre, with the 'Jazznight' theatre tour, together with the Beets Brothers, the Stylus Horns and the Rosenberg Trio. Her fourth studio album, 'Black girl' produced by the renowned saxophone player Hans Dulfer, is a tribute to the American blues singer and guitar player Huddie Ledbetter. The album was released in 1999 and made a big impression in the jazz scene. This, in turn, lead to Lils' first Edison Jazz Award. Published on multi-channel SACD in 2002, Lils' first live endeavor was a recording session at the Bimhuis in Amsterdam, in front of a live audience. The album, named 'In the wee small hours of the morning' was well received by both critics and audiophiles. That same year the Beets Brothers released the first ever Dutch jazz DVD, featuring Lils and Hans Dulfer. A close collaboration with saxophone player Wouter Kiers, lead to the release of the concept album 'Comes love' in 2005. All of the songs deal with different aspects of love and relationships. After a period of extensive touring in Europe, Lils released the album 'About crazy'. This 2008 album is an intimate portrait of an artist who has seen significant ups and downs in her personal life. Lils also used the classic Hammond organ to create a distinctive moody and melancholic sound. The album coincidentally marked the start of her long term collaboration with the Dutch saxophone player Clous van Mechelen. The release of the 2010 album 'A fine romance' is an audiophile's delight. This was actually a remastering of Lils' debut album. In this version, extra care was taken in finding the right balance between voice and band, and achieving the highest possible sound quality. 

The album is a classic demo disc for the demonstration of high end audio systems.  Lils Mackintosh is an award winning jazz- and blues singer and is considered one of the most distinguished artists in the Dutch jazz scene. Lils has worked with the likes of Oscar Peterson, B.B. King, Scott Hamilton, Rita Reys, het Rosenberg Trio, Cor Bakker, Madeline Bell, Hans Dulfer, Candy Dulfer, Louis van Dijk, The Beets Brothers, Georgie Fame and the Dutch Swing College Band. Lils has also worked on different projects as an actress and voice-over performer. She has done numerous commercials, some of which have become quite famous in the Netherlands.http://www.lilsmackintosh.nl/lils-eng-biografie.htm

Personnel:  Vocals, Arranged By – Lils Mackintosh;  Double Bass – Frans van Geest;  Drums – Hans Dekker;  Piano, Arranged By – Peter Beets;  Tenor Saxophone – Alexander Beets, Hans Dulfer (tracks: 10, 12, 15);  Trumpet, Flugelhorn, Arranged By – Jan Wessels

Black Girl

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Miles Davis - Doo-Bop

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 40:04
Size: 93,9 MB
Art: Front

(3:57)  1. Mystery
(5:02)  2. The Doo-Bop Song
(4:41)  3. Chocolate Chip
(4:40)  4. High Speed Chase
(5:07)  5. Blow
(5:32)  6. Sonya
(4:38)  7. Fantasy
(4:56)  8. Duke Booty
(1:28)  9. Mystery (reprise)

If On the Corner suggested hip-hop beats as far back as two decades ago, then consider Doo-Bop as offspring. Miles' teaming with producer Easy Mo Bee is a natural more in league with England's acid jazz scene than anything in the trumpeter's recent canon. Those who've howled over the post-Bitches Brew work will find no solace here; instead, chalk this up as one of Miles' most entertaining efforts. ~ Steve Aldrick http://www.allmusic.com/album/doo-bop-mw0000078184

Personnel: Miles Davis (trumpet); A.B. Money, J.R. (vocals); Easy Mo Bee (rap vocals).

Doo-Bop

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Jerry Bergonzi - Peek a Boo

Styles: Saxophone Jazz 
Year: 1992
File: MP3@320K/s
Time: 59:06
Size: 136,6 MB
Art: Front

( 5:30)  1. Peek a Boo
( 7:05)  2. Internal Affair
(11:01)  3. I'll Let You Know
( 8:32)  4. Idiosyncrasies
( 7:23)  5. Manipulations
( 7:53)  6. Zonian Mode
( 4:54)  7. Creature Feature
( 6:46)  8. Up for the Count

As a tenor saxophonist and composer, Bergonzi asserts himself further on this date with a quintet of established players. Trumpeter Tiger Okoshi forms a good partnership with 'Gonz up front, while the dazzling piano pyrotechnics of Joachim Kuhn, the solid bass playing of Dave Santoro, and the very able drumming of Daniel Humair give the leader quite a foundation from which to work. All eight cuts, save one, are neo-boppish, modern, mainstream vehicles written by Bergonzi, and they express a quick-witted, head-solo-tail written format which, for the most part, swings pretty hard. The CD is bookended with the title track and "Up for the Count," both upbeat numbers with a fervor that's chock full of notes, loaded with 16th's and 32nd's, especially from Kuhn. The latter tune has a staggered phrase, stop-start melody similar to that of Charles Mingus, and a tenor-drum workout for a bridge. Two bluesy swingers are placed back-to-back: The Kuhn-penned "Manipulations" features overloaded lines from piano and bass, and in "Zonian Mode," the tenor and trumpet get antsy ahead of the bar lines, with Kuhn showing moments of anxiety while the rest prove relatively settled into the groove. Scattered, chopped sounds crop up during the easy-paced but seismic melody of "Creature Feature." A Swiss-cheesed "Internal Affair" sounds like a sliced-and-diced, darker take on "Social Call." The hardest swinger is "Idiosyncracies," during which 'Gonz and Tiger live up to their aggressive nicknames. At a most intricate juncture, "I'll Let You Know" has a two-note chord piano ostinato, contrary swinging bass, and unison horns in a Blue Note/Riverside cum Randy Brecker mode. It is also within this piece that Kuhn's piano rattles cages with dizzying blizzards of notes on his solo. The more individualistic he becomes, the more challenging the music becomes, and Bergonzi has certainly upped the ante here with this exceptional combo. Were this an actual working, touring band the results might be different, especially down the road, but all in all this proves to be quite a credible, at times startling effort. ~ Michael G.Nastos http://www.allmusic.com/album/peek-a-boo-mw0000174312

Personnel: Jerry Bergonzi (tenor saxophone); Tiger Okoshi (trumpet, flugelhorn); Joachim Kühn (piano); Daniel Humair (drums).

Peek a Boo

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Michael Dease - All These Hands

Styles: Trombone Jazz
Year: 2017
File: MP3@320K/s
Time: 65:54
Size: 151,5 MB
Art: Front

(5:44)  1. Creole Country
(2:47)  2. Delta City Crossroads
(6:36)  3. Good & Terrible
(5:55)  4. Territory Blues
(6:10)  5. Benny's Bounce
(2:03)  6. Black Bottom Banter
(8:16)  7. Downtown Chi-Town
(5:59)  8. Gullah Ring Shout
(6:49)  9. Chocolate City
(5:53) 10. Memphis BBQ & Fish Fry
(7:16) 11. Brooklyn
(2:21) 12. Up South Reverie

Trombonist Michael Dease is never short on ideas, but this one might be his best yet: With All These Hands, Dease traces the early migratory patterns of jazz through his own well-crafted originals. He starts in NOLA and moves along to many a music mecca, including the Mississippi Delta, Chicago, Detroit, Philadelphia, Washington D.C., and New York. All the while he addresses regional dialects that developed as jazz permeated different regions while remaining cognizant of the need to avoid the quicksand of the past. This is Dease's take on jazz's journey, not his attempt at making a period piece. The port of departure for this musical saga is "Creole Country," a number transported by a Vernell Fournier-esque beat that speaks to the Crescent City's melting pot culture through rhythm. Steve Wilson's flute adds color and fills gaps, Renee Rosnes' fingers dance across the keys of the piano, Etienne Charles brings warm light with his flugelhorn work, and Dease is predictably strong in his solo delivery. It's the perfect number to serve as a launch pad for this project. Dease packs his bags after that opener, quickly moving on to his next destination "Delta City Crossroads," the first of several down-home duets to bring roots music into the picture. Here he chats with guitarist Randy Napoleon, engaging in call-and-response, moaning, vocalizing, and sighing with mute in hand. Intimate excursions like these are interspersed between full band numbers throughout the album, serving as a reminder that jazz and blues traditions are inextricably linked. The music that follows those opening tracks further underscores Dease's respect for the history of the music. "Benny's Bounce" serves as a representation of Philadelphia's rich jazz legacy, nodding to iconic saxophonist-composer Benny Golson through its name and harmonic pathways; "Black Bottom Banter" brings Detroit and its outskirts into view, as Dease and bassist Rodney Whitaker take a short trip through the 8-bar blues; "Downtown Chi-Town" captures the resolute spirit of the Windy City in its straight-eighth bearing; "Memphis BBQ & Fish Fry" is a greasy good time, as Dease mixes it up in trio with Wilson's soprano saxophone and Rosnes' Wurlitzer; and "Brooklyn" stands firm atop Rufus Reid's sturdy bass lines. Oh, the places that jazz goes! When taken as a whole, All These Hands proves to be both sobering and delightful, as Dease delivers one uplifting performance after another while also addressing all of the racial ills that shadow(ed) jazz and jazz musicians. Dease never turns a blind eye to history's truths, but he never lets them get the better of him either. He's a force for positivity, and All These Hands is proof positive of that statement. ~ Dan Bilawsky https://www.allaboutjazz.com/all-these-hands-michael-dease-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Michael Dease: trombone; Renee Rosnes: piano (1, 3, 5, 7, 9, 10, 11); Gerald Cannon: bass (1, 3, 5, 7, 9); Lewis Nash: drums (1, 3, 5, 7, 9); Lewis Nash: drums (1, 3, 5, 7, 9, 11); Steve Wilson: flute (1, 7), alto saxophone (5), soprano saxophone (10); Etienne Charles: flugelhorn (1), trumpet (3, 9); Randy Napolean: guitar (2, 4, 8); Rodney Whitaker: bass (4, 6, 8, 12); Jason Hainsworth: tenor saxophone (7); Diego Rivera: tenor saxophone (7); Rufus Reid: bass (11); Dan Pratt: tenor saxophone (11).

All These Hands

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Cecil Payne - Scotch & Milk

Styles: Saxophone And Flute Jazz
Year: 1996
File: MP3@320K/s
Time: 71:12
Size: 163,4 MB
Art: Front

( 9:04)  1. Scotch and Milk
( 8:46)  2. Wilhelmenia
( 9:56)  3. I'm Goin' In
( 5:15)  4. If I Should Lose You
( 8:10)  5. Que Pasaning
(11:18)  6. Cit Sac
( 8:13)  7. Lady Nia
(10:27)  8. Et Vous Too, Cecil?

When Cecil Payne turned 70 in 1992, the baritone saxophonist was showing no signs of slowing down. Payne was 73 when he recorded Scotch and Milk, a fine hard bop date employing trumpeter Marcus Belgrave, tenor saxmen Lin Halliday and Eric Alexander, pianist Harold Mabern, bassist John Ore, and drummer Joe Farnsworth. Payne's chops are in top shape on this 1996 date, and the veteran saxman plays with a lot of passion on such exuberant originals as "Wilhemenia" (a Sonny Rollins-type jazz/calypso number), "Que Pasaning," and "Cit Sac" (which finds Payne switching to the flute). The only tune on the CD that Payne didn't write is the standard "If I Should Lose You," which serves as a nice example of his soulful ballad playing. Nothing groundbreaking takes places on Scotch and Milk; most of the material could have been recorded for Blue Note in the 1950s or 1960s instead of 1996. Scotch and Milk is a perfect example of a veteran improviser excelling by sticking with what he does best. ~ Alex Henderson http://www.allmusic.com/album/scotch-and-milk-mw0000595078

Personnel: Cecil Payne (flute, baritone saxophone); Paul Serrano (recorder); Eric Alexander , Lin Halliday (tenor saxophone); Marcus Belgrave (trumpet); Harold Mabern (piano); Joe Farnsworth (drums)

Scotch & Milk

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Anne Phillips - Ballet Time

Styles: Vocal Jazz 
Year: 2007
File: MP3@320K/s
Time: 66:39
Size: 153,1 MB
Art: Front

(3:12)  1. Ballet Time
(5:32)  2. I Have the Feeling I've Been Here Before
(4:02)  3. I've Got Just About Everything
(4:43)  4. Here's to Life
(4:51)  5. In Your Own Sweet Way
(3:39)  6. Doubletalk
(3:16)  7. You Are There
(4:01)  8. Late Late Show
(3:44)  9. In the Days of Our Love
(4:57) 10. I Never Went Away
(3:12) 11. I Was Doing All Right
(5:37) 12. Embracable You
(5:53) 13. Romancing Ketchikan
(4:50) 14. New York Night Time Blues
(5:02) 15. Fried Bananas

Vocalist Anne Phillips may not be a familiar name to many jazz fans, though since she began her professional career in the early 1960s as a member of the Ray Charles Singers on the Perry Como Show, she has worked in many musical formats as a singer, composer, arranger, conductor and producer. This project was a special labor of love, as she recruited a number of old friends that she met along the way and recruited them to appear on one track apiece with her. Her engaging vocal duet with Bob Dorough (who complements their vocals with some lively piano) of his "I've Got Just About Everything" is a playful affair. Phillips lays a bit behind the beat effectively in spots in Dave Brubeck's loping treatment of his timeless "In Your Own Sweet Way," while she captures the nostalgic magic of pianist Dave Frishberg's lyrics in his ballad (with music by Johnny Mandel) "You Are There." Marian McPartland is on hand for her haunting ballad "In the Days of Our Love," with Phillips bringing out the essence of Peggy Lee's lyrics. Phillips' duet with tenor saxophonist Bob Kindred (her husband) of "Embraceable You" is full of humor, as is "Double Talk" a duet with organist Larry Goldings that has a campy lyric in the style of Annie Ross. There's never a dull moment in this delightful musical scrapbook. ~ Ken Dryden http://www.allmusic.com/album/ballet-time-mw0001225843

She sings with jazz greats Dave Brubeck, Marian McPartland, Roger Kellaway, Dave Frishberg, Bob Dorough and more...

Ballet Time

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Freddie Hubbard - Born To Be Blue

Styles: Trumpet Jazz
Year: 1981
File: MP3@320K/s
Time: 41:48
Size: 95,8 MB
Art: Front

(12:16)  1. Gibraltar
( 8:06)  2. True Colors
( 7:26)  3. Born To Be Blue
( 6:48)  4. Joy Spring
( 7:11)  5. Up Jumped Spring

Trumpeter Freddie Hubbard teams up with veteran tenor-saxophonist Harold Land and Hubbard's regular rhythm section of the period (keyboardist Billy Childs, bassist Larry Klein, drummer Steve Houghton and percussionist Buck Clark) on this fine modern hard bop CD, a straight reissue of the original Pablo LP. Hubbard had hurt his reputation with his very commercial Columbia recordings of the mid-to-late '70s so in 1981 he was doing his best to return to his brand of straightahead jazz. This date is highlighted by "Gibraltar," Clifford Brown's "Joy Spring" and a revisit to Hubbard's "Up Jumped Spring." ~ Scott Yanow http://www.allmusic.com/album/born-to-be-blue-mw0000188314

Personnel: Freddie Hubbard (trumpet); Harold Land (tenor saxophone); Billy Childs (keyboards); Larry Klein (bass); Steve Houghton (drums); Buck Clark (percussion).

Born To Be Blue

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Narada Michael Walden - I Cry, I Smile

Styles: Vocal, Soul
Year: 1977
File: MP3@320K/s
Time: 41:30
Size: 104,6 MB
Art: Front

(3:40)  1. I Need Your Love
(4:22)  2. Better Man
(3:42)  3. Soul Bird
(3:57)  4. I Remember
(4:58)  5. Oneness-Cry
(4:47)  6. Mango Bop
(1:18)  7. Rainbow-Sky
(5:46)  8. I Cry, I Smile
(4:36)  9. Heaven's Just a Step Ahead
(4:21) 10. So Long

Drummer/songwriter/producer/vocalist Narada Michael Walden's career spans over three decades and is threaded with gold, platinum, and multi-platinum awards. He's produced and/or (co) written number one hits by Whitney Houston, Mariah Carey ("Vision of Love"), Aretha Franklin ("Freeway of Love"), and Lisa Fischer ("How Can I Ease the Pain"). His proficient drumming skills have made him a first-call session musician playing on countless recording sessions.Walden has played on all kind of sessions from rock, jazz, pop, R&B, to fusion, sharing the recording and concert stage with the likes of John McLaughlin, the Mahavishnu Orchestra (a 21-year-old Narada replaced drumming legend Billy Cobham), and Jeff Beck (his Wired album) to name a small few. His own career as a recording artist is showcased on Rhino's Ecstasy's Dance: The Best of Narada Michael Walden. Walden's eclecticism is threaded throughout his recordings in varying degrees. In the '80s, he became a Grammy-winning mega-producer: Producer of the Year in 1987, Album of the Year for the 1993 movie soundtrack The Bodyguard (Narada Michael Walden, producer), and the Song of the Year award in 1985 for writing Aretha Franklin's "Freeway of Love." The song helped the Queen of Soul land her first platinum album. Walden was named one of the Top Ten Producers With the Most Number One Hits by Billboard magazine. Narada produced the Temptations' "Stay," the group's first number one record in 25 years from their platinum-plus Grammy-nominated Phoenix Rising. He also produced tracks for their follow-up album, Ear-Resistable issued by Motown/Universal on May 16, 2000.

Born April 23, 1952, in Kalamazoo, MI, Walden was given the name Narada by guru Sri Chinmoy. After college graduation, he trekked to Miami, FL, playing in various rock bands. Signing with Atlantic Records, his debut album, Garden of Love Light, included the mid-tempo "Delightful," which charted at 81 R&B in spring 1977. His next LP, I Cry I Smile, boasted the sweet "So Long" and the radio-aired LP tracks the languid "I Need Your Love," the delicious "I Remember," and the charming "Better Man." Even though these top-notch tracks received airplay in Chicago and other markets, other than "Better Man," none were released as singles. Instead, the label picked "Soulbird" and "Manago Bop," which worked well as album tracks, but not singles. The Awakening proved to be his breakthrough album, going to number 15 R&B in spring 1979 on the strength of the brassy "I Don't Want Nobody Else (To Dance With You)." Awakening radio-aired LP tracks were the airy "Listen to Me" and the jubilant album opener "Love Me Only" (also arranged by Patrick Adams). Awakening also featured top session bassist Keni Burke, formerly of the Five Stairsteps and best known for his own "Risin' to the Top."

His second highest charting single, "I Shoulda Loved Ya," hit number four R&B in late 1979. It was on his The Dance of Life (number nine R&B, late 1979), which included the gentle ballad "Why Did You Turn Me On." "You're #1" and "Summer Lady" were both on his Confidence LP from summer 1982. Walden's cover of the Four Tops' "Reach Out I'll Be There," "Reach Out," a huge dance hit, was listed on Looking at You, Looking at Me, which charted in spring 1983. Switching to Warner Bros., his duet with Patti Austin, the Motown-ish pop confection, "Gimme Gimme Gimme," issued as Narada Michael Walden with Patti Austin, went to number 39 R&B in early 1985 and was listed on his The Nature of Things album. His single "Divine Emotions" on the Warner Bros. imprint Reprise Records appeared in the Michael J. Fox movie Bright Lights, Big City. The Divine Emotion LP included the charting mellow single "Wild Thing" and the smooth, chugging, radio-aired LP track "That's the Way That I Feel About Cha." His 1995 Toshiba/EMI album was titled Sending Love to Everyone. In late 1985, Walden opened Tarpan Studios, a state-of-the-art recording studio located near San Francisco. Walden's work appears on releases by Stacy Lattisaw ("Let Be Your Angel") ,Al Green (Your Heart's in Good Hands), Shanice Wilson ("I Love Your Smile," "I Hate to Be Lonely"), Ray Charles, Diana Ross, George Michael, Wild Orchid, Tevin Campbell, Angela Bofill, Diana Ross, MyTown, Steve Winwood, Phaze II, Regina Belle-Passion ("Baby Come to Me"), Andy Vargas, Debelah Morgan, Jai, Jermaine Stewart ("We Don't Have to Take Our Clothes Off"), Natalie Cole ("Good to Be Back), Clarence Clemons, Puff Johnson, Eddie Murphy ("Put Your Mouth on Me"), and Carl Carlton ("The Bad CC"), among many many others. Other Narada Michael Walden-related releases are Stacy Lattisaw and Johnny Gill (Perfect Combination), Lisa Fischer (So Intense), and the movie soundtracks to Beverly Hills Cop II, Perfect, Waiting to Exhale, License to Kill, The Bodyguard, Jason's Lyric, 9 1/2 Weeks, Crooklyn, Free Willy, and The Associate. ~ Ed Hogan https://itunes.apple.com/us/album/i-cry-i-smile/id305111925

Personnel:  Narada Michael Walden: Vocals, Drums, Percussion, Keyboards;  Christine Faith, Elisa Delieson, Cheryl Alexander: Backing vocals;  Hiram Bullock, Raymond Gomes: Guitars;  Cliff Carter: Keyboards;  Neil Jason: Bass;  Herbie Mann, Norma Jean Bell: Flute, Reeds;  Sammy Figueroa, Rafael Cruz: Percussion;  Michael Gibbs: String Arrangements & Conducting

I Cry, I Smile

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Aaron Bing - Awakening

Styles: Saxophone Jazz, Smooth Jazz
Year: 2015
File: MP3@320K/s
Time: 44:12
Size: 101,8 MB
Art: Front

(3:36)  1. Whispers in the Wind
(4:32)  2. Break Through
(5:01)  3. Breathe Again
(3:55)  4. What About Us (feat. Jd Greer)
(3:58)  5. Indigo
(5:31)  6. Midnight Silhouette
(4:50)  7. Memories of Love
(5:02)  8. Maybe Tomorrow (feat. Tevin Campbell)
(4:40)  9. Unbroken
(3:04) 10. Overcome

Smooth Jazz Artist Aaron Bing, a native of Jacksonville, FL, was born of Native American/African American heritage. His grandmother, the late, Ola Mae Webster, who Mr. Bing affectionately calls, “Big Mama” raised, nurtured, and encouraged Jazz Artist Aaron Bing to totally dedicate himself to perfecting his God-given talents. She was the cornerstone of his inspiration. Under her guidance, he spent must of his childhood in church. He found refuge in his “secret place” learning to play various instruments. From this inspiration he remembers Big Mama’s voice saying to him, “Don’t forget who gave you the gift.” Jazz Artist Aaron Bing decided then music was his “thing.” Music was his place of comfort to escape from being lonely and unpopular. What he loved the most, music, allowed him to be himself unconditionally. Not forgetting his musical origin of playing his aunt’s old broken clarinet, he began to play the baritone horn, the French horn, and later, the saxophone. Jazz Artist Aaron Bing perfected his musical skills. It was in the 9th grade that he first heard the unique sounds of Grover Washington and Kenny G. He discovered Kenny G’s uniqueness in playing the saxophone. This inspired Jazz Artist Aaron Bing to find his own unique, innate soulfulness. Moreover, during his high school years, he joined the school’s marching band where he continued to play wind instruments while broadening his musical interest. Jazz Artist Aaron Bing learned how to play percussion, particularly the drums, from the 10th through the 12th grades. He kept learning the basics of reading, writing, creating, and playing music- resulting in him arranging various musical parts for the marching band and writing his first song. It was during that time he realized music was what he wanted to do as a career. By the time he graduated from high school, he had written and produced an entire album. He released it locally to get as much exposure as possible. He just kept producing demos with the aim of getting a record deal.

By the age of 19, Jazz Artist Aaron Bing played wherever he could be heard- to include several local nightclubs, the streets, and the airport of Jacksonville, Florida. After playing with several local professional bands, he began to acquire local recognition as an up and coming smooth jazz soprano and alto saxophone artist. Although he never formally studied the discipline of jazz, Jazz Artist Aaron Bing also studied such jazz artist as Gerald Albright, David Sanborn, Najee, David Foster, and Walter Afanasieff. Jazz Artist Aaron Bing is a master musician of the soprano and alto saxophones- not to mention 20 other instruments (18 of which are self-taught). He has dedicated over 15 years of his life perfecting his musical talent. He stayed focused and disciplined in giving himself to producing and promoting his craft. The Smooth Jazz Artist Aaron Bing’s previous experiences have elevated him to the status of a proven jazz artist. Consequently, he has opened for numerous established national artist such as Brian McKnight, Gladys Knight, Jeffrey Osborne, The Temptations, Lenny Williams, and Rachelle Ferrell - to name a few. His most notable national recognition was his appearance on The Late Show with David Letterman for holding a musical note for 39 minutes and 40 seconds as a part of a Guinness World Record challenge. When asked to comment on his musical style, Jazz Artist Aaron Bing paused and said, “Every note that I play comes from my soul. That’s something that can’t be rehearsed or played over and over. All of my emotions and feelings are reflected in my playing. I play every song like it’s the last time I’ll ever play.”In his new CD release titled 'Secret Place', all are invited to experience the long-winded smooth Jazz sounds of Jazz Artist Aaron Bing. https://store.cdbaby.com/Artist/AaronBing

Awakening

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Ralph Alessi - Cognitive Dissonance

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 60:29
Size: 138,9 MB
Art: Front

(4:27)  1. Cognitive Dissonance
(4:28)  2. Buying, Selling
(2:55)  3. Dog Walking
(4:38)  4. Duel
(3:26)  5. A Plenty
(3:45)  6. One Wheeler Will
(3:47)  7. Sir
(3:42)  8. Goodbye Ruth's
(6:37)  9. Hair Trigger
(3:33) 10. Better Not To Know
(3:42) 11. Sunflower
(3:55) 12. Same Old Story
(4:45) 13. Option
(3:51) 14. Wait
(2:53) 15. Goodbye Ruth's (slow)

For his Cam Jazz debut, trumpeter Ralph Alessi recruits two key players from his sadly overlooked Look (Between the Lines, 2007). But while ubiquitous bassist Drew Gress (Marc Copland, Claudia Quintet) is a mainstay of Cognitive Dissonance, pianist Andy Milne only guests on the knottily themed but swinging "Sir" and a quirkily, near-unrecognizable version of Stevie Wonder's "Same Old Story." The rest of the album's fifteen tracks eleven by Alessi, in addition to a free-spirited yet surprisingly lyrical version of Sam Rivers' "Sunflower" and two collective improvs with Gress and drummer Nasheet Waits feature pianist Jason Moran, once again demonstrating his greater strengths as a sideman.The same needn't be said about Alessi who, along with fellow trumpeter Ron Miles, remains one of America's most perennially (and curiously) undervalued trumpeters. His plangent, warm and somehow compressed tone is just one compelling reason to check out bassist Scott Colley's Architect of the Silent Moment (Cam Jazz, 2007) (and his forthcoming 2010 Cam Jazz follow-up, Empire), guitarist Joel Harrison's The Wheel (Innova, 2008) and Gress' The Irrational Numbers (Premonition, 2008). With a relatively diminutive self-led discography, the avant-tinged trumpeter has also proven himself an astute bandleader and fine conceptualist, ranging from the oddly configured Vice & Virtue (RKM, 2003) to the more orthodox (but far from conventional) instrumental line-up of This Against That (RKM, 2002). Cognitive Dissonance covers a lot of ground in an hour. The irregularly metered but unfailingly grooving title track kicks things off on a high note, with Gress and Waits building an M-Base-centric foundation over which Moran's funkified piano sets a broad harmonic context. Alessi's impressive opening salvo sets the tone for an album where the soloists are challenged to say a great deal in a short timeframe, succeeding consistently. Despite only one track exceeding six minutes, with the majority ranging between three and four, there's never a sense of being hurried, as Alessi solos with equal invention over the even more rhythmically intricate "Buying, Selling" his even briefer solo (on a tune where the head occupies a full minute of its 2:56 running time) a muted combination of spare, swinging ideas and equal consideration of space, with Moran's staggered accompaniment leading to a similarly well-conceived solo, supported by the ever-pliant, ever-responsive Gress and Waits.

Alessi waxes lyrical on the balladic "Dog Waking" and tango-esque "One Wheeler Will," written for William Coltrane son of legendary saxophonist John Coltrane's son (and also very fine reed man) Ravi Coltrane. An inadvertent nod to expat Canadian trumpet icon Kenny Wheeler in the trumpeter's tone and expressive melancholy, "One Wheeler Will" also features a robust, yet metallic and Gary Peacock-like solo from Gress that's a Cognitive Dissonance highlight. With so much ground covered, it would be easy for Cognitive Dissonance to lose its focus, to become overly eclectic. But with Alessi's writing a challenging combination of memorable themes, harmonically and rhythmically tricky contexts and improvisational largess and an unfettered yet focused playing style that never succumbs to excess, Cognitive Dissonance easily deserves consideration alongside the music of better-known contemporaries like Dave Douglas. ~ John Kelman https://www.allaboutjazz.com/cognitive-dissonance-ralph-alessi-cam-jazz-review-by-john-kelman.php
 

Personnel: Ralph Alessi: trumpet; Drew Gress: double-bass; Jason Moran: piano (1-6, 8-11, 13-15); Andy Milne: piano (7, 12); Nasheet Waits: drums.

Cognitive Dissonance

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